REVIEW: THE PRODUCERS Is Brilliantly Funny Escapist Absurdity

The Producers, Mel Brooks (Book, Music & Lyrics) and Thomas Meehan (Book) musical theatre adaptation of Brooks’ 1967 movie of the same name is given the Hayes Theatre treatment by Julia Robertson (Director).  The satirical musical comedy about the entertainment industry is presented with creative clarity in the compact space.

The history of The Producers is that Mel Brooks opted to capitalise on the earlier cinema success, the original movie won an Academy Award for Best Story and Screenplay, to bring the story from screen to stage, premiering on Broadway in 2001, securing 12 Tony Awards out of the 15 nominations it received and 3 Laurence Olivier Awards when it opened in London in 2005.  The Producers of the title refers to unsuccessful theatre producer Max Bialystock (Anton Berezin) and the timid accountant sent to audit his books, Leo Bloom (Des Flanagan), who is enticed into fulfilling his dream of becoming a Broadway Producer when he lands on the realisation that a producer could make more money with a flop than a success.   As Max guides the nervous Leo in finding all the elements to create a show that should close almost before it has even opened, all of the tropes are explored, from the blonde bombshell leading lady Ulla (Alexandra Cashmere), the decidedly camp Director Roger De Bris (Blake Erickson), his assistant Carmen Ghia (Mikey Sakinofsky), and unhinged playwright Franz Liebkind (Jordan Shea) who has written a sure fire flop with a homage to Hitler. 

Set and Props Designer Nick Fry has created a set that transforms between theatre doors to expressions of Max’s office and other spaces with a linking reminder that the story is all about theatre shows.  The mobile panels are adorned with the white bulbs of Broadway Marquees while gold signs share the names of a variety of spoofs on well known musicals.  Benedict Janeczko-Taylor’s costume design ensures that all characters are easily recognisable while having the ability to enable the ensemble to quickly shift between characters. 

This production is fast paced and choreographer Shannon Burns ensures that the energy is maintained with strong ensemble numbers while Robertson balances the absurd storyline with an underlying honesty.  Robertson ensures that the performers have connected with their characters so there is an element of intuitive expression so the comedy of the work lands without feeling forced. 

As Max Bialystock, the failed producer that puts his body on the line to secure funding from a harem of horny old ladies, Anton Berezin delivers a convincing charlatan committed to his career but clearly not that capable of mounting a hit show.  He as a strong vocal and a committed physical comedy.  As Max’s new business partner, Des Flanagan channels Matthew Broderick’s portrayal of Leo Bloom which initially feels a little too contrived and disappointing that he hasn’t sought out bring his own “voice” to Leo but eventually he relaxes into the role to deliver a strong performance. 

Of the supporting roles Blake Erickson is delicious as the flamboyant Rober De Bris as he captures the camp character with an elegant ease.  As Franz Liebkind, Jordan Shea brings the requisite level of obsessive insanity as the pigeon racer with a strong loyalty to “the home country”.  As Bax and Leo’s Leading lady, Alexandra Cashmere really leans into the stereotypes that Ulla presents while Wendy-Lee Purdy brings great physical comedy to the representation of how Max secures his funding. 

While the opening announcement provides a warning about controversial and challenging topics, these cautions potentially overinflated the shock that the show would illicit, partly as a result of the shifting awareness of things that were once taboo.  That aside, THE PRODUCERS is an engaging and entertaining piece of theatre that provides an escape from the drama of the real word for a few hours.  While it is understood that the Hayes Theatre season has sold out, this production will transfer to Riverside Theatre Parramatta in May.

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