The Producers (Savoyards)
Iona Performing Arts Centre
September 23 – October 7
Sometimes the business of Broadway is that you do can do everything right but still go wrong. Sometimes, the opposite can occur too…. Such is the story behind Mel Brooks’ movie and subsequent musical, “The Producers”. Failed Producer Max Bialystock used to be the king of old Broadway, with the biggest hits. Now, he has lost his touch so makes his money by seduction of elderly women as investors. ….until he stumbles upon a seemingly failsafe scheme to profit from a flop. He partners with timid accountant Leo Bloom to produce what they hope will be the biggest failure in the history of commercial theatre (whose shares they can oversell), the offensive “Springtime for Hitler” gay romp about Adolf and Eva in Berchtesgaden, aka the worst musical ever written, helmed by the worst director in New York City and with the worst actors occupying all of its roles.
And so the chaos begins and in Savoyard Musical Comedy Society’s production of what Mel Brooks himself describes as ‘an evening of insanity and pleasure’, the chaos is quite delicious. The show starts strongly with the two leads, Gary Rose as the very Jewish and over-the-top Bialystock and Joshua Thia as the anxious and unsure-of-himself Bloom, sharing an immediate on-stage chemistry. The production has everything a good old fashioned musical needs, particularly its tried and tested, sometimes politically incorrect, humour. Indeed, it is irreverently self-aware in its offer of something for everyone comedy-wise; there is bawdy, one-liner humour that completely works alongside wittier, more intellectual allusions and puns.
Musical numbers are quite magnificent in both their eclecticism and their production values. ‘I Want to Be a Producer’ serves as an Act One highlight, as Bloom sings of his secret desire to leave the drudgery of accounting to have his heart set afire by seeing his name in lights, complete with a chorus of supporting showgirls and an entertaining tap dance sequence. ‘Springtime for Hitler’ is another, later, example of the show’s unified choreography, staging, costumes and impressive live music soundtrack under Mark Beilby’s direction.
To be a genuine success, however, the show needs to nail it with the two leads and in this regard, Savoyards’ production excels. Rose is a perfectly devious but twinkle-eyed Bialystock, while triple threat, Thia is outstanding, from the anxious and awkward Bloom of Act One through to his increasingly excitable sensibility in later sections. His embrace of every opportunity within the role’s physicality, with hilarious facial expressions and exciting physical comedy, make him enormously fun to watch.
Walter Lago is a riot as Franz Liebkind, the ex-Nazi writer of the musical within a musical, at times conveying a John-Cleese-like sensibility in his normalised absurdity. Grace Glarke is appropriately faux-Swedish as Ulla, the jiggly dancer/receptionist at the newly amalgamated Bialystock and Bloom, David Morris brings immense energy and interest to the role of Director Roger Debris when stepped into the musical’s lead role and Scott Edwards is a scene-stealing Carmen Ghia, his flamboyant common law assistant.
“The Producers” was a smash hit on Broadway, winning a record-breaking 12 Tony Awards, so any intended production is going to be an ambitious undertaking, especially for an independent theatre company. This is musical theatre on the grandest of scales with a long running time and cast of over two dozen. Under Gabriella Flowers’ Artistic Direction, Savoyards have produced a polished and professional show. Hannah Crowther’s tight choreography and Sherrly-Lee Secomb’s clever set design work well to establish and quickly transition between scenes while maintaining the show’s essential energy and feel-good factor. Unfortunately, this could not distract from the ongoing sound issues on Opening Night.
“The Producers” puts the comedy back in musical comedy, with Mel Brooks evident in its every aspect. The show went on to become one of the biggest hits in modern Broadway memory and this production loses none of what made the original such an enormous success. Savoyards’ highly entertaining and thoroughly recommended share of the classic Broadway story is appropriately full of colour and movement, frivolity and funny, funny moments… including a pigeon named Adolf who almost steals the show. As a musically and visually stunning reminder that there is no business like show business, this is one of the best amateur productions around and, as such, should be seen by all who, like Ulla, think if you got it, flaunt it!
Photos c/o – Christopher Thomas