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Disclaimer:
The reviewers' opinions are their own and do not necessarily reflect the views of TheatreLouisville.org. |
Reviews
The Producers Music and Lyrics by Mel Brooks
Reviewed by Jane Mattingly Entire contents are copyright © 2009 Jane Mattingly. All rights reserved.
The last place one might find swastikas on display and dancing Hitlers might be the Jewish Community Center, unless it's CenterStage's production of The Producers by Mel Brooks. If you're like me, you've seen both the 1968 cult classic film and the 2005 remake more than once, but CenterStage's production was far from an after school re-run. The bright and colorful set, costumes and lighting choices along with a huge, energetic and committed cast didn't stop short of a blowout, where the jokes were still funny, the dancing was still tight, Roger DeBris' Anastasia/Chrysler Building dress was still dazzling, and the numbers were still catchy. (Though be careful not to burst into the ode to the infamous dictator, "Springtime for Hitler," somewhere in public after the show.) The musical tells the story of struggling Broadway producer Max Bialystock, who claims that he used to be the "King of Old Broadway," but that his recent flopped productions are leaving him with little hope of future success. His new accountant, Leo Bloom, a nervous but focused mathematician quickly discovers that if a show that was guaranteed to flop were produced, the production team could actually make more money than if it were a hit. To Bloom this is an interesting constituent of accounting theory, but to a desperate Bialystock, this is a brilliant plan that can save his bank account. Bialystock convinces Bloom to join him as producer of the worst play Broadway has ever seen. They settle for Springtime for Hitler, certain that the script would offend an audience to the point of closing the show before intermission. But they don't stop there&em;they hire who they think is the worst director in show business, the ever-fabulous Roger DeBris and his colorful tech crew, and cast the worst actors in New York. They even commit a capital sin of theatre by wishing the cast "good luck," to ensure their production would be an absolute bomb. But Bialystock and Bloom receive the surprise of their careers this opening night. The cast and crew of this production took the hilariously inappropriate script and really let the audience have it, but not in such a way that was over the top. They let us in on all of the jokes and it was apparent that everyone in the theatre, both onstage and off, was having great fun the whole time. It was neither too cheesy nor too crude, and though Bialystock and Bloom were engaging in some pretty sketchy activity, the audience couldn't help but be on their side. Monty Fields (Bialystock) and Jon Adams (Bloom) had excellent stage chemistry and were quick and energetic throughout the show. Amanda Lathi's Ulla was every bit as glamorous and lovable as we'd want her to be, and though she slipped out of her otherwise believable Swedish accent on a few words, we forgave her because of her remarkable voice and dancing, both in the office as Bialystiock & Bloom's secretary-slash-receptionist and on the Nazi stage. But the show would not have been near complete without the chorus, who stole the show several times as vivacious elderly women, desk-detained accountants, Broadway showgirls, and even prisoners. Both the singing and dancing were lively and fun, with my only criticism being that it was difficult hear the chorus members who had solos but weren't wearing microphones. I would recommend this show to anyone I know that enjoys musicals but probably not the kids. It was perfect for a humid Louisville summer evening and sitting in the dark for two and a half hours actually left me with more energy than I had going in. No matter how many times you've heard the dialogue and the music of an old favorite, a good production can make that time just as delightful as the first, and that's what this show made it for me.
The Producers Posted July 24, 2009
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