The Producers - Review

Garrick Theatre, London

*****

Music and lyrics by Mel Brooks
Book by Mel Brooks and Thomas Meehan

Directed by Patrick Marber

Richard Kind and the company of The Producers

It seems almost impossible to believe that The Producers came out as a film in 1967, nearly 60 years ago. It remains a comedic masterpiece written by surely one of the greatest comics of all time, the legendary Mel Brooks, himself now a sprightly 99 years old. To many, turning the film into a stage musical was akin to drawing a moustache on the Mona Lisa. Why attempt to improve perfection? In 2001 they achieved the impossible, turning a brilliant film into an equally brilliant and hilarious musical.

The plot is simple. It seems that there is more money to be made in producing a guaranteed failure on Broadway than a hit show, so Bialystock and his naïve accountant partner Leopold Bloom, set out to create a guaranteed disaster and pocket $2 million. 

After a highly successful run at the Menier Chocolate Factory, the show transferred to London's Garrick Theatre. Andy Nyman, who opened at the Menier as Bialystock is taking a brief sabbatical and has handed his cardboard belt to Broadway actor Richard Kind. Kind's on-stage energy levels are never dialled to less than eleven, and he has the comedic ability to earn a round of applause with just a look or a simple, subtle gesture. He inhabits the role as if it were a tailor-made suit and eeks out every single molecule of the crooked producer. He’s as crooked as a politician, but the audience loves and roots for him.

Elsewhere, this tried, tested and fabulous company continue. Marc Antolin plays the neurotic, shy accountant, Leopold Bloom, drawn into Max’s nefarious, fraudulent scheme. Antolin can sing and dance superbly, having everything one needs to be a musical star and shining in every scene. 

The rest of the cast are equally superb, wringing every last ounce of comedy gold from the simplest, even throw-away lines, turning already inspired characters into even better, funnier versions. Australian Trevor Ashley is hilarious as the hopeless director Roger Debris, and is clearly loving every on-stage moment, as is his ‘assistant’ Carmen Ghia played by Raj Ghatak. The duo bring a new dimension to camp and the result is a gem. Harry Morrison as the deranged playwright  Franz Liebkind, eats the scenery whenever he’s on stage - the laughter he induces is painful! Special mention to the pigeons scene – a terrific touch. 

The always reliable Joanna Woodward plays Ulla, the barely intelligible ‘Swedish secretary’ hired by Max and Leo, and her Monroe-esque presence illuminates the stage as does her comedy timing. 

What is communicated so clearly to the packed audience is that every member of the entire ensemble is having a blast, seemingly enjoying their roles as much we are enjoying watching them. Is this a show for the easily offended? No. But that's the point. A musical entitled "Springtime for Hitler" was shocking in 1967. Now the swinging sixties have evolved into the grim, divided, angry 2020s and in many ways, the show's message is stronger and more relevant than ever.

The Producers is an outrageously offensive, camp, rude, and irreverent musical from which no one is safe from being the butt of a joke. I loved every moment of it. One word sums it up, a word we hear less and less these days – fun. Enjoy it while it’s still legal.

Reviewed by Russ Kane

Booking to 19th September

Photo credit: Manuel Harlan

The Producers - Review

Garrick Theatre, London

****

Music and lyrics by Mel Brooks
Book by Mel Brooks and Thomas Meehan

Directed by Patrick Marber

Andy Nyman

The two stars of this Menier Chocolate Factory revival of The Producers are Andy Nyman’s stunning take on Max Bialystock and Mel Brooks’s timeless script and libretto which, no matter how many times one may have seen the show or the movie(s), delivers gags that never grow old.

Bestriding the stage like a (diminutive) Colossus, Nyman looks the part. Capturing the impresario’s scheming slobbery, Nyman's is possibly the finest Bialystock to have played on a London stage. He nails the sharp self-deprecating irony to a tee, and what’s more he can hold a note too. Nyman’s flawless singing leads to a glorious delivery of his 11 o’clock number, Betrayed.

As Leo Bloom, the haplessly inadequate accountant sent to balance the producer’s books, Marc Antolin brings musical theatre expertise to the role but lacks an authenticity. With a performance that’s technically sound (the boy can surely sing and dance), there’s something missing in the chemistry of his improbable pairing with the monstrous Bialystock.

The show’s featured roles are all a blast of sheer theatrical hilarity. Joanna Woodward’s Ulla is every inch the blonde Swedish bombshell, Trevor Ashley’s Roger Debris is a work of camp genius, while Harry Morrison’s Nazi playwright Franz Liebling is gloriously overplayed to perfection.

Lorin Latarro’s choreography is another treat, with an array of styles from pastiche Jewish traditional through to Broadway-infused tap numbers. The economy of the show’s staging however, that may have worked cutely well and garnered the audience's sympathy in the extremely confined Menier space, seems a little understated on its transfer into the West End.

An interesting observation on the show is that both Andy Nyman and Zero Mostel (who created Max Bialystock in the first (1967) movie) have trodden similar paths en route to playing Brooks's outlandish producer. Mostel had created Tevye on Broadway in the 1964 premiere of Fiddler on the Roof, a role that Nyman was to assume (again at the Menier) nearly 60 years later. Who knows? Perhaps there is an understanding of the very essence of larger than life Jewish characterisation that an acting journey from the shtetl to the Great White Way provides? Either way, it works!

This revival of The Producers, the West End’s first in 20 years, makes for a great evening of irreverent musical comedy. Brooks’s gags are relentless, perfectly pitched, and guaranteed to offend (almost) everyone.

Booking until 21st February 2026

Photo credit: Manuel Harlan

The Producers - Review

Menier Chocolate Factory, London

****

Music and lyrics by Mel Brooks
Book by Mel Brooks and Thomas Meehan

Directed by Patrick Marber

Andy Nyman and Marc Antolin

The Producers that has just opened at the Menier Chocolate Factory has sold out for the entirety of its 14-week run before one review has even been published! Patrick Marber directs and his helming of this revival of Mel Brooks’ comic gem, is impeccable. As musicals go The Producers is massive and to have been able to have crammed it into the Menier’s intimacy is quite an achievement. Designer Scott Pask has used the venue’s size to bring us closer to the chemistry of the relationship between scheming Broadway producer Max Bialystock and his apparently timid accountant Leo Bloom.

The show’s plot famously centres around Bialystock and Bloom’s need to create a surefire flop, so as to avoid having to pay out any returns to Bialystock’s “little old lady” angels who he has seduced and defrauded by overselling the profits of his next show many times over. The pair stumble across Franz Liebkind, a Nazi playwright whose Springtime For Hitler they seize upon as a show in the worst possible taste and guaranteed to bomb at the box office. Of course, through an over-plastering of camp and kitsch, the musical goes on to become a Broadway smash and the pair are exposed as scheming crooks.

The accomplished Andy Nyman (who played Tevye at the Menier six years ago) is Bialystock with Marc Antolin playing Bloom. Nyman masters Bialystock’s New York Jewish shtick, getting under the skin of the man’s chutzpah and irreverence. Bialystock however needs to bestride his scenes like a colossus and there is something just a touch diminutive in Nyman’s turn. His take on the monstrous producer is unlikely to be remembered as one of the greats.

It is Marber’s supporting characters, from the show-within-a-show, who really bring this production to life. Playing Broadway director Roger De Bris is Trevor Ashley who gives possibly the finest interpretation ever to this larger than life character. Equally Harry Morrison's Franz Liebkind is a treat. Joanna Woodward gamely steps up to the role of Swedish blonde Ulla, hired as the producers’ assistant and she too delivers a performance that is as fabulous as her stunning looks.

Marber’s ensemble are close to flawless with Lorin Latarro’s choreography proving to be a work of genius within the Menier’s confines. Matthew Samer’s musical direction is also a delight.

Winter may be upon us but there's no room for snowflakes at The Producers. Aside from its two protagonists who end up in Sing Sing, this is a show that takes no prisoners. And as Mel Brooks mercilessly mocks a slew of minorities, the evening makes for one big guilty pleasure. 

Runs until March 1st 2025

Photo credit: Manuel Harlan