Review: THE PRODUCERS, Garrick Theatre

Content Warning: Too long to list!

It took over twenty years for a revival of Mel Brooks's The Producers to come to London and the diminutive Menier Chocolate Factory more than held its own for a sold-out and universally well-received show. Now it makes a triumphant move to the West End's Garrick Theatre and continues to prove that great comedy is simply timeless. 

The story of two crooked producers trying to make a flop through a musical about Hitler pushes nearly every boundary of good taste, but in the cleverest manner. Its satirical and subversive take on this most taboo of subjects also weaves in queer empowerment, a love story and the joy of friendship. It's quite a combination, but Patrick Marber's production is a sparkling, comedic masterpiece.

The whole main cast returns to the show and don't miss a beat with their energy, deft movement and incredible comic timing. The ensemble is one of the best I have seen, each actor bringing huge character to the smallest parts.

Andy Nyman's Max is arguably better than ever; greasy-haired and totally immoral, Nyman digs into every dirty and questionable action of the character while making you root for him. It's a wonderful performance.

As the ever-nervy Leo, Marc Antolin is equally excellent; an innocent man-chilld swept along by promises of wealth and fame as a Broadway producer. The pair retain the touching chemistry they honed so well at the Menier, with even more poignancy and meaning. Their rendition of "Till Him" after Leo's betrayal of Max really feels like a love song to their friendship.

Joanna Woodward gives Swedish assistant and actor Ulla charm, seductiveness and intelligence. Her scenes with Antolin's Leo are sweetly innocent and, of course, very funny. Woodward also has a brilliant voice, belting out her numbers with power and aplomb.

Harry Morrison is, again, utterly hilarious as mad pigeon-loving Nazi Franz, radiating manic energy and unhinged love for The Führer. Trevor Ashley oozes blissful camp theatricality as director Roger de Bris, along with his assistant Carmen Ghia, played by Raj Ghatak, who sports a much more bouffant hairstyle than previously.

What director Patrick Marber and choreographer Lorin Latarro did so well at the Menier was to put on a large scale production in a very small space. At the Garrick, they have the space (and budget) to really let their ideas shine. The tap routine in "I Wanna Be A Producer" is given the expanse it needs to be a real spectacle and "Keep It Gay" is an absolute riot of characters and colour.

Scott Pask's original set design is enhanced and expanded and Paul Farnsworth's costumes are even more outrageous, with the irrepressible "Springtime for Hitler" an opportunity for lampooning all things far-right, including giant swastikas, leather-clad dancers and silver glitter everwhere.

At a time when the world feels unnervingly divided, The Producers is a timely reminder of the satirical power of theatre to undermine something completely evil and turn it into a riot of laughter. If you missed out on seeing it south of the river, don't make the same mistake again.

Read our interview with Joanna Woodward on returning to the role of Ulla here.

The Producers is currently booking at the Garrick Theatre until 21 February 2026

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