Review: The Producers (Garrick Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

Mel Brooks' much-loved musical The Producers is back in the West End for the first time in 20 years as last year’s acclaimed sellout production from the Menier Chocolate Factory transfers to the Garrick Theatre. While audiences and critics alike raved about the revival last year, would the response prove as rapturous this time around, or would it be so much of a disaster that tonight’s opening night would end up being this run’s closing night?

Not to ruin the suspense, but there really isn’t much chance of that. Faced with the flop of his latest show, ‘Funny Boy’, producer Max Bialystock schemes with accountant and wannabe producer Leo Bloom to make a surefire Broadway flop in a bid to get rich. Stumbling upon ‘Springtime for Hitler: A Gay Romp with Adolf and Eva at Berchtesgaden’, they set out to hire the worst director, actors and dancers to ensure the show doesn’t get past its first performance. Of course, the show then goes on to become a huge hit, leading to less-than-ideal repercussions for both producers.

Adapted from his 1967 movie, Mel Brooks teams up with Thomas Meehan to create a show as rip-roaringly funny as possible. Though some of the humour about Hitler and Nazis may sound offensive on paper, Brooks prides the show as being an equal opportunities offender. Yes, it does cross the line repeatedly, but the absurd way it is done and the extremities of it are cause for much of the laughter. Intent is everything when it comes to humour – though it may prove offensive, its sole purpose is to make its audience laugh, and, when it comes to this production, consider it a job well done.

The humour extends beyond the dialogue with no shortage of visual gags, beautifully realised by Patrick Marber’s joyful and on-point direction. The Producers isn’t a show that takes itself seriously in the slightest, and every single person involved in this production is in on the joke, collaborating in the best possible way to maximise the impact and ensure the audience is rolling in the aisles (not literally, for health and safety reasons, obviously).  You can tell when all of the creative team is on the same page in a production, as that is when true magic bounces off the stage – I’m glad to say that is definitely the case with The Producers this time around. Marber’s direction brings a new lease of life to Brooks and Meehan’s book in one of the most hilarious productions I have ever seen.

The design elements equally add to the humour of it all, with Scott Pask’s initially sparse set design paving the way for plenty of tricks. My one criticism of the show last year at the Menier was that it felt too busy at times, and the incredibly intimate stage at the Menier Chocolate Factory made for a claustrophobic watch that never let the jokes and visual gags breathe. That has been rectified thanks to the bigger stage on offer at the Garrick. The staging is bigger and better, allowing the large cast to make themselves seen, with Lorin Latarro’s creative choreography giving plenty of reason to watch them. Another element demanding to be seen is Paul Farnsworth’s spectacular costume design – a real step up from last year’s run, particularly those in the ‘Springtime For Hitler’ sequence. As someone who has a penchant for wearing a bit too much sparkle at times, I felt right at home with all of the dazzling numbers on display… though perhaps wearing them around Nazis would not be my top choice.

It's the little details that make The Producers such a completely joyful watch. I say little… some of them are hard to miss, but whether it is an anatomically correct statue, the appearance of Jesus (always welcome, not always expected) or the particular branding on the birds, there is fun to be had at every turn. One thing The Producers also has going for it is the most inappropriate confetti drop you will ever see. That particular moment gave me the biggest laugh I had personally, which probably says more about me than the show.

I’ve established that the creative team are all at the top of their game at The Producers, so what about the cast? Where Bialystock and Bloom may have deliberately assembled the worst actors they could find, the producers of this show have done the opposite, leading to what could be the strongest ensemble cast you will see on a West End stage this year.

Expertly led by the always reliable Andy Nyman as Max Bialystock, he gives a commanding and charismatic performance at all times, even when he threatens to be eclipsed by the big characters performing alongside him. Part of this success is down to the believable and ultimately beautiful partnership he has with Leo Bloom, played to perfection by a wonderful Marc Antolin. The contrasts in their personalities make for an incredible relationship to see played out, with Antolin and Nyman channelling this perfectly to exhibit immense chemistry. Antolin proves himself to be a star at his every appearance, with his early performance of ‘I Wanna Be A Producer’ an absolute showstopper. It’s not the only showstopper he is a part of, however, with every musical number he performs with Nyman glorious to watch.

Joanna Woodward is another standout as Ulla – though she is a late arrival on stage, she more than makes her presence felt with phenomenal comic timing and a charisma that lights up the stage whenever she sets a toe on it. Her big musical number, ‘When You’ve Got It, Flaunt It’ proves to be the vocal highlight of the entire show. Though he is comparatively underused, Raj Ghatak shines in his portrayal of Carmen, while Alex Lodge delivers a brilliantly inappropriate ‘Springtime For Hitler’, kicking off one of the most surreal yet oddly sensational sequences I have ever seen in all my years of theatregoing.

Harry Morrison is another comic highlight as Franz, with his larger-than-life and loud presence among the funniest aspects of the show. The other character who fills the stage with humour is Trevor Ashley in scene-stealing fashion as Roger De Bris. I was wowed by Ashley’s presence and comic ability in last year’s production at the Menier. This time around, he eclipses it exponentially. With the unrivalled ability to elicit a laugh with just the tiniest of facial expressions, Ashley gives a masterclass performance at every turn, from the rousing ‘Keep It Gay’ to his ultimate appearance in ‘Springtime For Hitler’. In a cast as consistently good as this, it’s hard to single out standouts, but Ashley would certainly be one.

The Producers is an undoubted classic, though my first time seeing it on stage was last year’s Menier Chocolate Factory. While I loved it enough to award it four stars in my initial review, I felt like something was missing, and it hadn’t quite done enough to get that elusive fifth star from me. Whatever it is that was missing has certainly been found this time around, as the West End transfer is an obvious five-star show. Where did they go right? When it comes to this production, it is in every single detail of the show. The bigger space and grander details in the set work in the show’s favour, while some of the more rustic elements seen at the Menier remain, creating the best of both worlds. With a cast that has had more time to settle into their roles and a director who has continued to find new ways to elevate the material and bring more laughs into the mix, the result is one huge hit. Don’t be surprised if this production runs for 20 years.

The Producers plays at the Garrick Theatre. Tickets from https://allthatdazzles.londontheatredirect.com/musical/the-producers-tickets

Photos by Manuel Harlan