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The Producers
Presented by: Whitehorse Musical Theatre
Venue:
The Besen Centre, Burwood
Reviewer: Matthew Smith
Date Reviewed: 6th October, 2007
The opening night of Whitehorse Musical Theatre Inc’s The
Producers was such a massive success in all facets of production
that I am left scratching and scraping to find a flaw.
The Producers
kept me laughing right through to lunch the following day and the
really strong and resounding reason for this, I think, is the
Director’s superb interpretation and the cast’s professional
performance.
It is astonishing to note that while The Producers has won
more Tony Awards than any other musical, it still manages to ‘offend
women, gays, Germans, Jews, Broadway producers, pigeon lovers and
Swedes’ (and, I might add, the elderly!). These are Director Chris
Bradtke’s own words, who muses that perhaps satire and adolescent
humour pervade our sense of the politically correct and provide an
avenue for us to see the truth through its opposite – how
absolutely perfect.
The politically incorrect mixed with slapstick has always been the
key to Mel Brook’s successful comedies and in The Producers
he has continued with the same brilliant recipe. I woke up this
morning with “Springtime for Hitler” in my head and in the shower
found myself singing ‘…keep it gay, keep it gay, keep it gay…’ I was
of course caught completely unawares and could only laugh at the
magnificently humorous scenes from the night before.
The Producers,
for those who have not had the pleasure of seeing Mel Brook’s 1968
film, tells the story of Broadway producer Max Bialystock’s (Adrian
Carr) and accountant Leo Bloom’s (Richard Thomas) attempt to stage
the worst Broadway production in history as a sneaky plan to pocket
2 million dollars and run away to Rio.
After flopping on Broadway we find Bialystock wallowing in his
apartment, where signs of his previous fame line the walls –
brilliant Broadway productions like “The Breaking Wind” and “When
Cousins Marry”. When Leo Bloom arrives to do Bialystock’s books he
comments unwittingly that a flop could make more money than a hit –
so begins their rocky ride to fame and glory. While Bialystock
trades his pride and moral fibre for money from every rich old lady
in town, Bloom is busy falling in love with the simple and simply
beautiful blonde Ulla (Rachel Whitelaw). While Ulla’s first name is
Ulla Inga Hansen Benson Yansen Tallen Hallen Svaden Swanson, her
last name is definitely “bombshell”.
In order for their plan to be successful, Bialystock and Bloom need
to find the worst script and the worst director in New York, the
latter role filled by the very camp and very brilliant Roger De Bris
(Lee Threadgold) and his sidekick Carmen Ghia (Samuel Kitchen). A
script entitled Springtime for Hitler: A Gay Romp with Adolf and
Eva at Berchtesgaden easily wins the worst script award and
Bialystock and Bloom endure a torturous roof top song and dance
routine just to get the rights! One of the highlights of the night
was the playwright Franz’s (Julian Dunham) performance of Hitler’s
favourite song “Der Guten Tag Hop Clop”. Dunham’s strong vocals
(with a very apt rough edge) lent a comical authority to his
character that had several people literally in stiches, doubled over
in delightful pain! (The singing pigeons in the background were also
surprisingly very funny!)
Both Carr and Thomas gave performances to be remembered with really
strong vocals, great characterization and excellent slapstick.
Thomas quivering on the floor clutching his “blanky” was hilarious
and Carr cavorting with a dozen identical old ladies was
unforgettable. Thomas is a powerful and professional performer and
singer who was nothing short of brilliant throughout the entire
show. Carr has excelled in this lead role and deserves to be
recognized as a strong lead actor. From the opening scene to the
final curtain Carr sung beautifully and performed, arguably, at his
best.
Equally memorable were Threadgold’s and Kitchen’s very camp
performances. The combination of physical humour (especially
Threadgold’s eyes and Kitchen’s walk!), great script and strong
vocals created some really magical moments on stage. Even the old
“walk this way” gag got a laugh! My sides were splitting every time
they moved and they really brought the house down.
Set designer Brenton Staples has outdone himself once again with
effective, creative and really well crafted set designs. I have had
the pleasure of seeing a few sets by Staples but in my mind, The
Producers (together with Shout) stand above and beyond
the rest for their fast, beautiful and innovative designs. Really
enjoyable to watch!
I
also could not find fault in the marvellous work of the orchestra
and its conductor, Gregory Smith, who together created a timely and
intensely satisfying musical accompaniment to the production.
From such a cast as this it really is hard to say who the standout
performers were and here-in lies its success. If I were able to name
just one, what would that say of all the others? I felt, as I
focused my critical gaze upon every cast member’s eyes, their
movements, their singing, dancing and commitment that there was
simply no weak point. A blindingly bright performance of the highest
standard.
A
standing ovation.
Matthew
Smith studied writing, English literature and theatre at the
Western Australian Academy of the Performing Arts, Edith Cowan
University, Murdoch University and the Univeristy of Calgary. His
Arts degree saw him writing short plays, feature films and short
films whilst starring in 2 amateur student films. During the course
of his studies, Matthew researched and wrote several essays
investigating Romanticism, Tragedy and the influence of alchemy on
17th century literature. Moving to
Melbourne
in 2004 to complete his Honours in English Literature, Matthew
developed a thesis based on the carnivalesque aspects of modern
music. Matthew is currently developing a career as a freelance
writer and enjoys the theatre whenever he can. |