The Producers

“The Producers,” directed by Glenn Casale, kicks off Music Circus’s 61st season and is a great way to start a season that will include “Oliver!” “Anything Goes,” “Camelot,” “I Do! I Do!,” “Annie Get Your Gun” and “Miss Saigon.”

Whatever your ethnicity, nationality, religion, sexual orientation or political affiliation, there will be something in Mel Brooks’ “The Producers,” to offend everyone, yet it’s all done with such a sense of fun that you’re amazed at the things that make you laugh. You’ll find yourself laughing at things you never ever thought you would find funny.

It’s Catskills in-your-face humor in a tuxedo, burlesque all grown up.

When it opened on Broadway, the show won an unprecedented 12 Tony awards, breaking the record previously held by “Hello Dolly” for 37 years.

“The Producers” is the show that Mel Brooks wanted to write all of his life, the musical that we saw glimmers of in several of his movies, especially, of course, the 1968 movie from which the plot of this show was taken.

It’s the story of Max Bialystock, the worst producer on Broadway, played energetically by Bob Amaral, who played the role a couple of years ago as part of the touring company that played Sacramento. Amaral is a force of nature and holds nothing back.

Every bit his equal is Matt Loehr, as Leo Bloom, the mild mannered bookkeeper who figures out that a producer can make millions of dollars by over-selling stock in the show and then producing a flop that will close immediately. Loehr’s performance is amazing and, like Amaral, he holds nothing back. The two men decide “We can do it” and set about finding the worst play ever written.

That would be “Springtime for Hitler,” a paean to the Fuhrer by an old pigeon-raising Nazi, Franz Liebkind (Bill Nolte, who also was seen as Liebkind in the touring Broadway Series production) who wants the world to know that Adolph really wasn’t such a bad guy and feels that showing him frolicking about the countryside with Eva Braun is just the way to change history’s negative opinion of his idol.

Once the world’s worst play is chosen, the next step is to find the worst director and in that we have the best actor, Gary Beach, who originated the role of Roger DeBris on Broadway. The flamboyant DeBris makes his entrance in a stunning silver and black gown, which he says makes him look like the Chrysler building.

DeBris has to be convinced to take on the directing job, but once allowed to make the whole Hitler story less depressing by adding cute song and dance numbers, and maybe letting Germany win for a change, because it’s less of a downer, he’s all for it. When you see him goose step into “Springtime for Hitler” after Liebkind suffers an injury on opening night, well there just was never such a cute Hitler before.

DeBris’ “common law assistant” is Carmen Ghia (Michael Paternostro) who is about the gayest thing you’ve ever seen and who got the first standing ovation of the evening.

The Swedish bombshell who wants to audition for the show, and who ends up working in the office for Max and Leo is Ulla (Sarah Cornell), the tallest, blondest, sex-goddess you’re ever likely to meet. She can run an office, paint a room during intermission, and star in a musical all without mussing a blonde curl. The height difference between her and both Max and Leo gets played for every laugh it can possibly be played.

Choreography is by Dan Mojica and the dancers of Little Old Lady Land (including such hormone-crazed silver haired women as “Hold-me-Touch-Me” (Diane Vincent), “Lick-Me-Bite-Me” (Merrill West) and “Kiss-Me-Feel-Me” (Kim Arnett) is one of the funniest of the evening.

If you want a good laugh, “The Producers” is just the solution. Music Circus Executive Producer Richard Lewis says there are still a few tickets left, so hurry and get your tickets before they are sold out.

The Producers

If you want something to tickle your funny bone, do catch director Steve Isaacson's rollicking production of 'The Producers,' a first for the Davis Musical Theatre Company.

If you've just returned from a deserted island and have no idea that this delicious show was written by Mel Brooks, it wouldn't take more than a scene or two to figure it out. This is the show that Brooks has wanted to write his entire life: the musical that we've briefly glimpsed in several of his movies ... especially, of course, the 1968 comedy from which the plot of this show was taken.

'The Producers' is a fast-paced laugh from start to finish, with enough material to offend just about everyone: Jews, Nazis, old ladies, dumb blondes, corporate drones and just about anyone in between. And yet it's all done with such a sense of fun that you're amazed at the things that make you laugh.

It's burlesque all grown up.

For those few who may not have seen Brooks' original film, the story centers around Max Bialystock, a formerly successful producer who now can't get a hit to save his life, and who has become famous for his flops. DMTC's Martin Lehman doesn't quite have the bombast of Zero Mostel (but then who does?), but he's very funny in a role that seems perfect for him.

Into Max's office walks mild-mannered accountant Leo Bloom (Andy Hyun), who carries a strip of his baby blanket around in his pocket, to soothe himself in times of stress. Bloom discovers that it's possible for a producer to make more money with a flop show than with a hit ... if they plan it properly.

Hyun makes a perfect Bloom, with the wide-eyed innocence of a man who can be perfectly molded by the likes of Max.

And, thus, the team of Bialystock and Bloom is born.

They need the worst play in the world, the worst director in the world, and a bunch of gullible, horny old ladies as backers. When the show fails, as it is destined to do, Bialystock and Bloom will take off with their millions, to sun themselves on the beaches of Rio de Janeiro.

Let the fun begin.

And fun it is. It's difficult to pick any one scene as the best, but ranking right up at the top would be the chorus of horny little old ladies whom Bialystock will woo for their money, all tap-dancing with their walkers. It's one of the most inventive bits of choreography I've ever seen, and DMTC choreographer Ron Cisneros adapts it beautifully from the original Broadway production.

While 'The Producers' centers on Bialystock and Bloom, they're surrounded by a host of perfectly cast supporting players. First up is Kyle Hadley, as the pigeon-raising Nazi, Franz Liebkind, whose script - 'Springtime for Hitler' - is chosen for performance.

Then there's the fabulous director, Roger DeBris, played in beautifully campy style by Richard Spierto, along with his partner Carmen Ghia (Joseph Boyette), who gives new meaning to the term 'flamboyant.' Newcomer Boyette is a real find for DMTC, and easily steals his scenes.

Amy Jacques-Jones is Ulla, the Swedish bombshell who can run an office, paint a room during intermission, and star in a musical all without mussing a blond curl. Jacques-Jones, another newcomer to DMTC, is a real triple-threat; she not only acts, but dances and sings beautifully as well.

Everyone behind the scenes has pulled out all the stops for this production. Jean Henderson's costumes are outstanding, especially for the Busby Berkeley number. Dannette Vassar has concocted some pretty dramatic lighting, particularly for Roger DeBris and Carmen Ghia. Isaacson's set design, while merely utilitarian, serves the production quite well.

The only place where the show falters concerns the orchestra, with some downright painful passages by a few instruments, loud buzzing and then a booming electronic piano that nearly drowned out the singers in the finale.

Fortunately, the performers worked around the problems in the pit, and the audience still was treated to one of the most enjoyable shows ever to come out of DMTC.