THE PRODUCERS. Directed by Joseph Pitcher, with Alan Committee, Richard White, Earl Gregory, Terence Bridgett, Raquel Munn, Schoeman Smit, Devin Butterworth, Nathan Muller, Philip Schnetler, Joshua van Niekerk, Nicolette Fernandes, Michele La Trobe, Chloe Perling, Nadine Suliaman and Claire Glover. Choreography: Duane Alexander. Musical direction: Garth Tavares. Costume Designs: Penny Simpson. Set Designs: Michael Mitchell. Photographs: Jesse Kramer. Theatre on the Bay.
KAREN RUTTER reviews
Is it fair to say The Producers is my best musical of the year – and it’s only February? Basically, the show is going to be an extremely hard act to beat. Apart from a script so fresh and funny it’s hard to believe it was written over five decades ago, the Pieter Toerien production features a cast that’s feels perfectly fused to their roles. Add to this nifty choreography, hilarious costumes and tight musical direction, and you’ve got a serious success on your hands.
The Producers is, of course, a smash hit already, ever since Mel Brooks wrote and directed the original movie back in 1967, followed by the musical version launched in 2001, and the movie-of-the-musical version in 2005. The movie and musical have won Oscar and Tony awards, and there’ve been numerous lauded revivals of the production on Broadway and the West End. This only makes a local staging more daunting, one imagines. Expectations are great. Bars have been raised.
Which this team match with aplomb, completely. From the chorus to the character leads, everybody plays their part in this whirling dervish of a musical. Which still remains as outrageously maverick as when it was first released.
Making a musical flop
The musical-within-a-musical concerns one Broadway producer, Max Bialystock (Alan Committee), who’s lamenting the failure of his latest project, Funny Boy, a musical version of Hamlet. When his uptight accountant Leo Bloom (Richard White) comes to do his books, they make the discovery that one can actually make more money from a Broadway flop then a hit, if one plans it properly. Bloom is initially reluctant to help, but eventually agrees in order to pursue his dream of being a Broadway producer.
They set out to make the worst musical ever, and decide on Springtime for Hitler, A Gay Romp with Adolf and Eva at Berchtesgaden, written by ex-Nazi Franz Liebkind (Schoeman Smit). They also hire the worst director ever, the over-the-top camp Roger deBris (Terence Bridgett) and his common-law-assistant, Carmen Ghia (Earl Gregory). Max raises funding money by sleeping with a slew of aging New York socialites, and the stage is set for an almighty disaster. But. Audiences instead react to the outwardly offensive production with delight, and the show is deemed a hit. Max and Leo now face the unexpected fallout of success.
There’s loads more but we won’t spoil things by going into detail. It’s just too delicious to discover by yourself. But with songs like “Der Guten Tag Hop Clop” and “Keep it Gay”, you get an idea …
Dream team
The set, costume design and choreography are spot on in terms of the time and place, while the musical direction is both supportive of the singers while maintaining a great pace. As for the acting – what a team! The chorus are adorable in their many roles (New York dames, Nazi fans), with smaller leads making sparks (loved Phillip Schnetler’s chiselled Stormtrooper). Then there’s Raquel Munn’s statuesque, sensual turn as aspirant actor Ulla Inga Hansen Benson Yansen Tallen Hallen Svaden, who reveals both nifty dance moves and great sense of comic timing. Smit’s fervent role as Nazi musical writer Franz Liebkind is hilarious, while Gregory seems to be having the time of his life as the fruitiest ever Carmen Ghia.
But there are three actors who equally steal the show – indeed, one can say make the show. Terence Bridgett as the gayest of gay directors is a confectionary of camp, sashaying across the stage like it’s one big catwalk. As for Richard White as the initially hapless Leo Bloom – where does this guy come from? He can sing, he can dance – and his acting! His stringbean, prone-to-hysterics performance was perfectly on point, never too much or too little – and formed the basis of a marvelous partnership with Alan Committee. Ah, Alan. Can you do no wrong? This time last year you were lurching across Maynardville in an impressive performance of Richard III, and not so long ago you were slaying audiences in your one-person comedy The Lying King. And now the lead in a musical? C’mon – how many super powers can one man have? Suffice to say his cocky, overweight, scheming Max Bialystock is a treasure to behold.
This production of The Producers had me in stitches, but also generated much respect for a job well done. Actually, excellently done. Please do yourself a favour and see this one – you really, really won’t regret it.
What: The Producers
Where and when: Theatre on the Bay from 4 February to 28 March 2020 | Montecasino from 3 April to 31 May 2020
Book: Computicket
WS
