Mel Brooks’ 2001 musical is everything you could hope for and more with political incorrectness littered throughout – taking it to the stage is another challenge and in spite of a two-year hiatus due to the pandemic, Pilkington Musical Theatre Company’s production under the direction of James Kirby was a masterclass in song, dance, and comic timing.
An out of luck Broadway producer Max Bialystock (Andrew Marsh) and his accountant Leo Bloom (Adam Hurst) stumble upon Franz Leibkind’s (Ben Greenall) ‘Springtime for Hitler’ and realise that producing the worst musical ever will make their fortune, but just to be sure they select the campest directing team possible led by the magnificent Roger Debris (Seb Farrell) and assistant Carmen (Andrew Rauer). Throw in Swedish seductress Ulla (Sarah Johnson) and a Stormtrooper (Luke Montague) and what could possibly go wrong, or even right?
With Brooks’ stamp all over it, we are confronted by blatant caricatures that push at every boundary of human decency, and which gain greater power to offend because of society’s current obsession with social mores, and the audience loved every minute of it, especially Roger’s flamboyant troupe (Dru Fitzgerald, Kirby, Nicholas Rankine, Suzi Davies, Elliot Bailey).
Anna Whittle’s choreography is a delight from the Usherettes and Showgirls (Emily Caldwell, Di Glover, Katie Griffin, Chloe Pennington, Beth Stratford) to the Zimmer-framed old ladies (Pauline Doyle, Jean Aspinall, Ann Connolly) with some fantastic tap routines courtesy of the Deborah Lister Academy of Dance (Freya Anders, Mia Clayton, Rachel Blakely, Annabelle Dudley, Lily Roylance) devised by Whittle.
David Wall and Colin Ashton-Hunt provided the musical direction with a fifteen-piece live band bringing the musical within a musical to life with added Klezmer tones for good measure. The stunning sets from Scenery Solutions supported the unfolding action on stage with seamless costume changes drawn from Ann Connolly’s wardrobe as rich in detail as this production was in entertainment value.
Yes we had a couple of tech glitches and an occasional issue with the balance, but this was opening night and it’s what happens: a mic failure only served to demonstrate the confidence and competence of the cast and crew as the show went on regardless and we enjoyed it all the more.
The focus inevitably turns to the principals, all of whom performed at the highest level. Farrell and Rauer paired hilariously and were more believable than they may care to imagine; Greenall sung and danced with aplomb, so much so even the pigeons couldn’t keep abreast of him. Johnson was sexy and sultry with word perfect mispronunciation.
It was pleasing to see neither Marsh nor Hurst distracted by who may have gone before them, with both very much making their role their own. Hurst was impeccable as the frail and nervous accountant whose hopes go beyond dreams, really coming into his own in Act Two. Marsh perfectly captured the Jewishness at the heart of his crooked producer in a performance that would make Brooks proud.
The Producers performs again on 23rd at 7.30pm and on 24th September at 2.30pm and 7.30pm at St Helens Theatre Royal. Tickets are available at https://www.sthelenstheatreroyal.com/show/873618255/ or Box Office on 01744 756 000.
Should that be the end of it? I think not so this is my challenge to Pilkington MTC and to the Liverpool theatre community: a big production deserves a bigger stage so why not get this on at Liverpool’s Royal Court or the Liverpool Empire? There is a wider audience who would lap up this irreverent humour and I can’t think of a better company to deliver it.
Reviewer: Mark Davoren
Reviewed: 22nd September 2022
North West End UK Rating: ★★★★★