Stage
Mel Brooks’ “The Producers”
Lee MacDougall/Timothy French
The Monday Morning “Somebody-Asked-Me-To, So-Here-I-Go” Review: Stage
Sold out performances. Appreciative audiences. None of these are elements that Broadway producer Max Bialystock is enjoying, at the point of his career that opens this hit Broadway musical – winner of a record 12 Tony Awards when it ran in
A zany lampoon of show business, desperation, and outright lunacy, The Producers features sing-a-long ditties such as “I Wanna Be A Producer”, “Keep It Gay”, and of course, the hallmark showstopper nugget “Springtime For Hitler”. It doesn’t take much detective work to presume that this outrageous piece from the unique comedic mind of Mel Brooks has more in common with Monthy Python’s “Spamalot”, than it does with “Guys & Dolls”…
Directed here in
Loaded with highlight performances, there’s always one scene-stealer – in this case, Sheldon Bergstrom as the (semi) closeted Nazi admirer, whose play aimed at “clearing the Fuehrer’s good name” is chosen by Max and his newfound partner Leo Bloom, to be a sure-fire flop. This gentleman absolutely embraces the wackiness of his role, and with rich robust vocals stands out – not an easy task when there are a number of capable actors handling roles that are manufactured to stay with you, after the curtain falls.
I had a chance to sit down with the director, and hopefully over the next week I'll have that interview available for my "Talking Theatre With" series - I'll post a link when that's ready.
“The Producers” runs until Sunday, June 13th.
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