THE PRODUCERS has been a huge hit, both as a film and as a stage show. A musical about Hitler too! How could it ever succeed? That it does is both the plot and the substance of this show.
Some have questioned the stereotyping: Jewish producers, randy old ladies, randy young ladies, gay producers. It’s satire. Not everyone gets that.
This new production, currently on tour at Manchester's Palace Theatre, is slick, pacey and exhilarating, full deserving its Press Night standing ovation. Still, it’s not for everyone.
Once successful Broadway producer Max Bialystock meets a new accountant, Leo Bloom. A throwaway remark propels the pair to produce a sure-fire Broadway failure in order to make a fortune from unrewarded investors. ‘Springtime for Hitler’, written by continuing Nazi Franz Liebkind, fits the bill. Swallowing their discomfort they seal the deal, hire the worst producer in town, Roger de Bris, and set to work raising the cash, their cash.
The Producers originated as a 1960s film, unsuccessful at first, but its stars Zero Mostel and Gene Wilder and a growing audience thirst for satire helped propel the film to greater success in the 1970s. Local comedian Peter Kay starred as Roger Capri in the Manchester leg of a 2007 tour of the stage musical. The current production also stars a local comedian, Jason Manford, as accountant Leo Bloom.
Jason Manford is a revelation; he can sing, dance, and he can act. He brings a strongly stated naiveté to the role, enhancing Leo’s initial lack of confidence and making his development into lover and producer all the more engaging. Cory English is Max Bialystock, the role he's been performing for years. He is the rock of the show; he was in 2007 and still is now, with an ability to make his performance seem completely fresh. The plot summary he runs through towards the end of the show is jaw-droppingly brilliant.
The Producers as a satire on Broadway and Hollywood stereotypes employs them all to make its point, none more obviously than Ulla, a Swedish glamorous wannabe with a strong sex drive and a heart of gold. Tiffany Graves performs the role to perfection.
Phil Jupitus gives a solid performance as Franz Liebkind, the short fused, carrier pigeon keeping, unhinged Nazi who has written the show in idolatry of Hitler. He even has a pigeon call Adolf. Phil Jupitus brings his keen timing to the role, and his singing and dancing fits the bill.
Olivier Award-winning actor David Bedella plays the flamboyant director Roger De Bris to perfection; a great performance drawing on a strong musical theatre career. Louis Spence is his assistant and partner Carmen Ghia. Think Louis Spence camp, quadruple it, then add some, and you’re barely there. He makes the most of his small role, wiggling, writhing and high-kicking to command audience attention at exactly the right time, allowing the rest of the cast to shine too.
He’s aided by the most dazzlingly sparkly, dazzlingly pink jacket in the world. There’s a fair amount of glitter in this production, once we get to the show within a show. The point where the glitter jackets are backed by the glitter curtain is a triumph of glitter as camouflage. Set design, at times simple and at times complex, works brilliantly throughout to place and move the action, such as the New York fire escapes transforming to prison cells once the scam is revealed. The whole production team, director Matthew White, choreographer Lee Proud, designer Paul Farnsworth, lighting designer Paul Anderson, musical director Andrew Hilton, orchestrator Chris Walker, sound designer Gareth Owen and casting director James Orange, deserve a standing ovation.
Is this the perfect show? It isn’t for everyone. Some have questioned the stereotyping: Jewish producers, randy old ladies, randy young ladies, gay producers. It’s satire. Not everyone gets that. More importantly, there are moments, essential moments, when the audience find themselves questioning their ability to laugh at Nazis and Hitler as the main subject matter. It would be worrying if they didn’t. There are many people who deliberately avoid this show, for that reason. Understandable. Portraying Hitler as a figure of ridicule in March 2015 is rather different than it would have been in March 1945.
Nazis would hate this show. The rest of us are free to choose.
The Producers runs at Manchester Palace Theatre until Saturday 21 March. Tickets here.
