The Producers

The Producers Presented by: Whitehorse Musical Theatre Venue: The Besen Centre, Burwood Reviewer: Matthew Smith Date Reviewed: 6th October, 2007 The opening night of Whitehorse Musical Theatre Inc’s The Producers was such a massive success in all facets of production that I am left scratching and scraping to find a flaw. The Producers kept me laughing right through to lunch the following day and the really strong and resounding reason for this, I think, is the Director’s superb interpretation and the cast’s professional performance. It is astonishing to note that while The Producers has won more Tony Awards than any other musical, it still manages to ‘offend women, gays, Germans, Jews, Broadway producers, pigeon lovers and Swedes’ (and, I might add, the elderly!). These are Director Chris Bradtke’s own words, who muses that perhaps satire and adolescent humour pervade our sense of the politically correct and provide an avenue for us to see the truth through its opposite ­­– how absolutely perfect. The politically incorrect mixed with slapstick has always been the key to Mel Brook’s successful comedies and in The Producers he has continued with the same brilliant recipe. I woke up this morning with “Springtime for Hitler” in my head and in the shower found myself singing ‘…keep it gay, keep it gay, keep it gay…’ I was of course caught completely unawares and could only laugh at the magnificently humorous scenes from the night before. The Producers, for those who have not had the pleasure of seeing Mel Brook’s 1968 film, tells the story of Broadway producer Max Bialystock’s (Adrian Carr) and accountant Leo Bloom’s (Richard Thomas) attempt to stage the worst Broadway production in history as a sneaky plan to pocket 2 million dollars and run away to Rio. After flopping on Broadway we find Bialystock wallowing in his apartment, where signs of his previous fame line the walls ­­­– brilliant Broadway productions like “The Breaking Wind” and “When Cousins Marry”. When Leo Bloom arrives to do Bialystock’s books he comments unwittingly that a flop could make more money than a hit – so begins their rocky ride to fame and glory. While Bialystock trades his pride and moral fibre for money from every rich old lady in town, Bloom is busy falling in love with the simple and simply beautiful blonde Ulla (Rachel Whitelaw). While Ulla’s first name is Ulla Inga Hansen Benson Yansen Tallen Hallen Svaden Swanson, her last name is definitely “bombshell”. In order for their plan to be successful, Bialystock and Bloom need to find the worst script and the worst director in New York, the latter role filled by the very camp and very brilliant Roger De Bris (Lee Threadgold) and his sidekick Carmen Ghia (Samuel Kitchen). A script entitled Springtime for Hitler: A Gay Romp with Adolf and Eva at Berchtesgaden easily wins the worst script award and Bialystock and Bloom endure a torturous roof top song and dance routine just to get the rights! One of the highlights of the night was the playwright Franz’s (Julian Dunham) performance of Hitler’s favourite song “Der Guten Tag Hop Clop”. Dunham’s strong vocals (with a very apt rough edge) lent a comical authority to his character that had several people literally in stiches, doubled over in delightful pain! (The singing pigeons in the background were also surprisingly very funny!) Both Carr and Thomas gave performances to be remembered with really strong vocals, great characterization and excellent slapstick. Thomas quivering on the floor clutching his “blanky” was hilarious and Carr cavorting with a dozen identical old ladies was unforgettable. Thomas is a powerful and professional performer and singer who was nothing short of brilliant throughout the entire show. Carr has excelled in this lead role and deserves to be recognized as a strong lead actor. From the opening scene to the final curtain Carr sung beautifully and performed, arguably, at his best. Equally memorable were Threadgold’s and Kitchen’s very camp performances. The combination of physical humour (especially Threadgold’s eyes and Kitchen’s walk!), great script and strong vocals created some really magical moments on stage. Even the old “walk this way” gag got a laugh! My sides were splitting every time they moved and they really brought the house down. Set designer Brenton Staples has outdone himself once again with effective, creative and really well crafted set designs. I have had the pleasure of seeing a few sets by Staples but in my mind, The Producers (together with Shout) stand above and beyond the rest for their fast, beautiful and innovative designs. Really enjoyable to watch! I also could not find fault in the marvellous work of the orchestra and its conductor, Gregory Smith, who together created a timely and intensely satisfying musical accompaniment to the production. From such a cast as this it really is hard to say who the standout performers were and here-in lies its success. If I were able to name just one, what would that say of all the others? I felt, as I focused my critical gaze upon every cast member’s eyes, their movements, their singing, dancing and commitment that there was simply no weak point. A blindingly bright performance of the highest standard. A standing ovation. -------------------------------------------------------------------------------- Matthew Smith studied writing, English literature and theatre at the Western Australian Academy of the Performing Arts, Edith Cowan University, Murdoch University and the Univeristy of Calgary. His Arts degree saw him writing short plays, feature films and short films whilst starring in 2 amateur student films. During the course of his studies, Matthew researched and wrote several essays investigating Romanticism, Tragedy and the influence of alchemy on 17th century literature. Moving to Melbourne in 2004 to complete his Honours in English Literature, Matthew developed a thesis based on the carnivalesque aspects of modern music. Matthew is currently developing a career as a freelance writer and enjoys the theatre whenever he can.