The Producers is Broadway calibre

SATURDAY, OCT. 6: Thanks to the magnificent sets, jaw dropping costumes, impeccable acting and comic timing, Gilbert and Sullivan’s version of The Producers could happily make it as a professional Broadway play — given a little more stage space. 

The quality of this production of the Mel Brooks classic could be measured by the speed at which the members of the audience leapt to their feet for the standing ovation and rousing applause.

Outstanding performances were made by Alex Rosati as the bounding former ‘King Of Broadway’ Max Bialystock, Alan Brooks who fit the hilarious role of Hitler fancying playwright Franz Liebkind like a glove, Phillip Jones in the complex role of neurotic accountant Leo Bloom and, of course, the wonderful Gavin Wilson who relished in his role as a screaming drag queen director Roger DeBris. 

All-rounder Lizzy Hadler was magnificent as the highly flirtatious Swedish dish Ulla while Saltus music teacher and relative newcomer to the stage Dan Guerrard was effortless as DeBris’ camp companion Carmen. To reflect a line in the play: “he was so gay he nearly flew away”.

The story tells of Max Bialystock (Alexander Rosati), a once revered Broadway producer whose every show now turns out to be a complete flop. He meets with accountant Leo Bloom (Jones) who stumbles upon a get-rich-quick plan that will make them both enough money to jet off to Rio.

He figures out that if they raise more money than they need for a Broadway flop, it will close on the opening night and they can pocket the surplus.

So they hatch a scheme to put on the most terrible musical imaginable,one that glorifies the Nazi era and in particular Adolf ‘Elizabeth’ Hitler. In other words — a sure-fire flop.

Rosati, who has starred in just about every musical you can think of, said that this was the most complicated role of them all.

His dialogue rattles off the page at speed, he to’s and fro’s from singing and acting and his expressions are intensified to boiling point. To top it off he has a powerful singing voice, his professional training in musical theatre has clearly paid off.

Phillip Jones excelled as Leo Bloom, who underwent a complex character transformation from neurotic, painfully shy accountant to confident, love struck wanna-be producer. His is not the most loveable character but Jones allows Leo to grow on us and successfully builds him into someone we care about.

Franz Liebkind was the best role I have seen Alan Brooks perform in my four years on the island. The Nazi hardliner with a penchant for pigeons had the audience falling about laughing and his audition to play Hitler a highlight of the show. His uncanny Hitler hairdo was just an added bonus.

There were a multitude of excellent supporting roles including the sex craving grannies dancing with walking frames and the magnificent showgirls — some of whom were trained dancers at In Motion School of Dance.

The set by Cleo Pettitt was better than anything seen on the Bermuda stage since her outstanding backdrop for Oliver in 2008.

There were about seven set changes from the towering New York cityscape painted in an art deco style, to the glamorous exterior of the theatre, and the drab accounting office that ingeniously transforms into Leo’s glitzy showbiz fantasy world.

The costumes were outstanding from the blinding sequenced leotards of the showgirls complete with headdresses adorned with giant pretzels and bratwurst, to the painfully accurate Nazi outfits and the cackle-inducing campness of DeBris’ queens.

G&S veteran Vaughan Sullivan — fancy hats off to you, your assistant Susan Souza and to suppliers DC Theatrics.

Director Jenny Sawyer came in late to the show, stepping in for the original director, and certainly stepping up to the mark.

Stage director David Curl ably took the directing in his stride after the show had hit the stage and proved a good multi-tasker having cleverly constructed Liebkind’s dancing pigeons’ coop.

There is very little to criticize in this masterpiece of a production. Not all of the choral singing hit the right notes but this was barely a problem and the props in Max’s office could have been more imaginative — you would have thought the former ‘King Of Broadway’ would have a little more to his shelves than a minute trophy and a few trinkets. But these are minor things.

Besides all the local and international talent that went in to pulling off this immaculate show, we have to take our hats off to Mel Brooks’s witty, biting, saucy dialogue and memorable show tunes. What satire could top Springtime For Hitler? What could outwit the meticulously thought out wording in Max’s Betrayed? This is a masterpiece on paper.

Apparently ticket sales are not doing as well as they could be — it would be a dying shame if the crowds didn’t turn out for this one. Some may be put off by the shameless homosexuality in the play, others sensitive to the Nazi content but those aside should give it a go.

If you have ever complained about the amateurish quality of productions on this island this will challenge your view. There is nothing amateurish about this production — this is theatre at its very best. Don’t miss the chance to see it.