The Producers

Marie Clark Musical Theatre believes in third time lucky, having debuted this show in 2021 and, plagued by COVID, postponed last week’s re-opening of this much-loved musical, finally opening this week for a shortened season. The Producers, the musical, opened in 2001 and is an example of a wildly successful stage show that was written after being released as a film in 1967.  With music and lyrics by Mel Brooks, and a book by Brooks and Thomas Meehan, it ran for 2502 performances on Broadway, and boasts several ‘firsts’ including the most Tony Awards ever received by a single production with 12 awards, including Best Musical, setting the record for most wins in history and becoming one of the few musicals to win in every category for which it was nominated. Additionally, The Producers broke the record for the largest single day box-office ticket sales in theatre history, taking in more than $3 million and broke its own record by taking $3.5 million in one day.

Always controversial, it is a satirical black comedy that sees producer Max Bialystock (Sam Davy), in an attempt to save his failing career, resort to some very different thinking about making money. After some calculations, he realizes that "under the right circumstances, a producer could make more money with a flop than he could with a hit."  Focussing on finding the worst play ever written and hiring the worst director (Barry Hill) in town, Max and his reluctant accountant, turned producer, Leo Bloom (Kristian Latella) find and produce Springtime for Hitler: A Gay Romp With Adolf and Eva at Berchtesgaden. Complications arise, of course, when the show unexpectedly turns out to be wildly successful.

Known for his self-mockery, proudly Jewish comic genius Mel Brooks, shamelessly embraces caricatures of Nazis, Jews and other religions, races and creeds, gay people, theatre and theatre producers, love, happy endings and the US judicial system and no-one is left unscathed. He has said that one of his "lifelong jobs" is "to make the world laugh at Adolf Hitler." Interestingly, in an interview Brooks revealed that he cannot read music and all the songs he wrote were hummed into a tape recorder and transcribed by an expert to create the entire score.

Director Matt Smith has assembled a large ensemble, a 10-piece orchestra and a cast that features many of Adelaide’s experienced musical comedy identities. Impressively, most of the 2021 cast returned to reprise their roles, enabling further ‘polishing’ and refining. Musical Director Serena Cann and Co-choreographers Mike Lapot and Celeste Barone have created a mixture of very clever, enjoyable numbers that are witty and flow beautifully, whilst there are some disjointed, sometimes ‘slow’ songs where cast struggle to maintain physical momentum, and musical and vocal consistency. Standouts, with excellent musical comedy techniques are Kristian Latella, Gus Smith (Franz Liebkind) and Lachlan Washusen, who, as Storm Trooper #1 is, I predict, a potential future leading man.

It would be remiss to ignore the cast members who epitomise Brooks’ zany, hard hitting approach to this biting comedy. Directors and actors Barry Hill and Ben Todd are standouts in adding a layer of absurd comedy. Todd minces and flutters as Carmen Ghia and Hill relishes turning Roger de Bris into the dual characters of a cross-dressing Hitler and lit up “Chrysler Building” persona to create the camped up shallow and incompetent director character. Fabulously flanked by a team of ‘designers’ who make the Village People look understated (even when several of them appear), these two are supremely confident, and the audience, on opening night, loved their work. Equally relished is Smith as Franz Liebkind who delivers a joyfully outrageous and unbelievable character. His Nazi loving playwright harnesses strong stage presence, confident vocal work and spot on comedy timing that has the audience laughing out loud each time he takes centre stage. His fervent delivery of ‘Guten Tag Hop-Clop’ is worth the admission charge. A plaudit must go to pigeon wrangler, Helen Wheadon for this inspired scene.

As Max Bialystock, Sam Davy melds Zero Mostel with a Mel Brooks delivery style. His acting is his strength and he brings convincing brashness, but musically there is less confidence and vocal competence. Fortunately, his duets with Latella, as Leo, mask relative vocal inadequacy. Lucy Trewin, as Ulla could potentially suffer from being in Uma Thurman’s 2005 iconic film shadow, but she is confident and enthusiastic. There is also convincing ensemble chorus work. A chorus vocal and comedic standout is Helen Wheadon as Little Old Lady- Kiss Me, Feel Me who sings well and clearly relishes the fun of the role.

The set by Matt Smith and Jen Bais looks and feels flimsy and somewhat temporary, presenting some challenges on opening night. Michael Bentley’s lighting design works at its best when used as a follow spot and AllPro’s audio is well balanced and consistently audible. The projection of back scenes is effective in freeing up the stage for movement and works well for Max’s jail scene. Often supported by well-placed music bridging, the talented orchestra supports the crew who work tirelessly with noisy trucks and often rapid scene changes; a tribute to slick team work.

Mel Brooks show challenged the nature of modern musicals and this company captures much of his message faithfully, and stylishly. Make him happy by seeing this outrageously offensive, entertaining musical before its short season ends.

Jude Hines