The long awaited Mel Brooks zany, over the top, wonderfully
tasteless comedy
“The Producers” arrived in San Francisco at the Orpheum Theatre.
San Francisco and The Orpheum Theatre will never be the same. This
is the most irreverent, tribute to musical theatre ever produced.
Just when you think it can’t get any more outrageous it gets more
outrageous.
The long awaited Mel Brooks zany, over the top, wonderfully tasteless comedy “The Producers” arrived in San Francisco at the Orpheum Theatre. San Francisco and The Orpheum Theatre will never be the same. This is the most irreverent, tribute to musical theatre ever produced. Just when you think it can’t get any more outrageous it gets more outrageous. It hits on every race, creed, ethnic group and gender; no one is left out and you find yourself completely hysterical at jokes you would never consider laughing at or even thinking about.
This production broke records by winning 12 Tony Awards in just about every category offered.
Taken from the original Brooks 1968 movie that starred Zero Mostel and Gene Hackman, Brooks must have saved all the outakes that they could not use and anything that had extraordinary bad taste that had to be thrown out because of censors and added it to this story. Somehow it works.
Susan Stroman’s award winning direction and choreography is wild and leaps to the outer fringe of imagination. From a backup group of Nazi cooing pigeons to little old ladies doing a tap dance with walkers – the shtick never stops. Stroman’s repeats her creativeness from her highly lauded “Contact” and “Oklahoma” which overflows into this show.
This burlesque-like kaleidoscope orbits around Max Bialystock (Lewis J. Stadlen) and his colorless accountant, Leo Bloom (Don Stephenson).
Some characters have no redeeming qualities whatsoever. They deliver and work hard but they need a little more time to blend together. Individually they are on track.
The Bialystock role is demanding, physically and artistically at the same time. He is in just about every scene and gives the part a grating edge that Nathan Lane, (he was almost lovable), did not have. There is no gentleness or remorse to this character and you find yourself laughing at him in spite of yourself.
Don Stephenson in the Bloom role gives the role a bump in the right direction and gives the mousy bookkeeper trying to turn producer a heads-up with fine singing and good timing.
Bialystock and Bloom decide to produce a flop so they won’t have to pay off backers, (little old ladies whom Bialystock woos out of their life’s savings). They find the worst, most offensive play possible, called “Springtime for Hitler”. They hire the worst director possible played by Lee Roy Reams, who plays the drag/queen director Roger De Bris to its campy hilt. Michael Paternostro comes across as his assistant, Carmen Ghia with the persistence of a runaway train-turned-gay. Picture that if you can.
The brightest light of the production is Angie Schworer who makes Ulla hers alone. She “is” the Swedish, extremely well built blond, sexy secretary. She is delicious and sings and dances with equal ease. This is one talented lady. Schworer reprises the role from the original Broadway show and is a joy to behold.
The “Springtime for Hitler” extravaganza production number gathers every piece of politically incorrect camp that can be found and unabashedly flings it at you with glittered swastika armbands, gorgeous showgirls in stunning costumes; decorated with everything from beer steins, pretzels and wieners, to a take off of Judy Garland. Nothing is left out that will insult or make for cringing but somehow, as I said, it works, and is one of the most outrageously, entertaining musical numbers that is completely off the wall.
“The Producers” is a hoot and hasn’t lost much from the Broadway production. The show is guaranteed to make you laugh. What more do we need today? And, by the way this is an adult friendly show.
Camille Bounds is the arts and entertainment editor for Western Division of Sunrise Publications.
