“David Bedella and Louie Spence brought a frivolity that couldn’t be outdone.”
If there is one thing Mel Brooks never fails to do, it is to entertain. To the average person, on hearing the premise of a political satire including a failed Broadway producer, a musical homage to Adolf Hitler, nymphomaniac geriatrics and a cross-dressing director, it would be inconceivable to enjoy any show remotely related. But the average person would be wrong. Brooks created a genuine comedy masterpiece that is as absurd as it is entertaining, and as politically questionable as it is uplifting.
Director Matthew White has created something spectacular in his touring production of The Producers. His cast are well-shaped in their roles; the entire performance was slick and musically, under the direction of Andrew Hilton, they were faultless.
Set and costume designer Paul Farnsworth delivered a spectacle bedecked in glitz and glam worthy of a Broadway show. With touring productions it can often be the case that set is left too minimalistic to fit every venue, but Farnsworth created a masterpiece on wheels. Max Bialystock’s office was the most impressive set piece with Broadway memorabilia piled high without encroaching on the stage space available – a most impressive feet.
Cory English offered a stellar performance – his comic timing was slick and he completely owned the stage as his madness – driven in equal parts by a desperate need for money and success – led him down darker, murkier paths, dragging the fresh-faced, naïve Leo Bloom behind him.
Jason Manford’s role saw him shine in the spotlight. His portrayal of the nervous dreamer Leo Bloom was highly entertaining – his attachment to his blue blanket and quirks were hilarious and Manford really embraced the manic side of his character.
The blossoming love between Leo and Ulla that grew throughout the show was reminiscent of a pre-pubescent unsure footing on the ladder of love and it was brilliantly matched with Tiffany Graves’ unabashedly sexual Ulla who carried an air of innocence through her clumsy grasp of English which contrasted greatly with her side smirks and comfort in skimpy outfits. Graves’ vocal performance was incredible too – definitely an attribute to flaunt.
As if there wasn’t a strong enough comedy factor already; double act David Bedella and Louie Spence brought a frivolity that couldn’t be outdone – their overtly camp exuberance was aided by sequins, glitter and a troupe of openly gay production team members that left a definitive feel of
Mardi Gras in the air. Bedella’s outrageous portrayal of a gay, sequin-wearing Adolf Hitler in Springtime for Hitler was hysterical and increased the political satire tenfold. In fact, the entire number was fantastically put together. The choreography was sharp and clean, the costumes were as over the top as ever and the stage design was downright dazzling.
The Producers is, in my opinion, a massively underrated piece of musical theatre gold. It is crass without being crude, it is fast-paced without being dizzying and the musical numbers are big and bold but not ridiculous – despite the sparkly swastikas.
While there are very few morals to be learned from this story, there is still a beautiful friendship at the heart of it that can be seen blooming in the unlikeliest of places – they do say showbiz is cutthroat, but not in this case. There is a poetic symmetry between the teachings of Max to Leo and the camaraderie and chemistry shared between seasoned stage performer Cory English and rising star Jason Manford.
Reviewer: Amy King (Seen 24 March)