As themes for musicals go it’s pretty difficult to
imagine a more unlikely subject than Adolf Hitler. That’s the basic premise
behind The Producers, one of whom has worked out that he can make more money
staging a flop than a hit (hmmm...maybe that’s what the team behind Viva
Forever were up to?). Originally a 1968 film from Mel Brooks he waited a mere
33 years before adapting it into an actual musical (a case of art imitating
life imitating art etc) which has gone on to win awards and win over audiences
across the globe...even in Germany and Austria...which is just a touch odd when
you think about it.
It’s not unusual for a show to have one or two scene
stealing performers but this version of The Producers has half a dozen of ‘em. Seriously.
Cory English oozes chutzpah as the OAP ‘servicing’ Max Bialystock (what that
man won’t do for a dollar...oy vey!), Jason Manford channels a little Jerry
Lewis as the uptight Leo Bloom and Phill Jupitus is delightfully unhinged as
the frequently Führer-ious Franz Liebkind.
Add in Louis Spence...simply being
Louis Spence is enough and he only has to flick his wrist or wiggle his ass to
get a laugh (and that’s some talent...try it) as Carmen Ghia, David Bedella who
somehow manages to out-camp him (something that should be scientifically
impossible) and Tiffany Graves as the English mangling Swedish love interest Ulla and
you’ve got a dream cast for this show.
Bedella’s gloriously OTT Hitler routine
deserves a particular mention. Watching him prance around in a gold sequin jacket
surrounded by a swastika wearing goose stepping chorus line still has the power
to shock if you actually think about it but of course that’s the point. Speaking
of which apparently sometime after the original movie came out a woman got into
a lift with Brooks and recognizing him said, 'I have to tell you, Mr. Brooks,
that your movie is vulgar.' Brooks smiled before replying 'Lady, it rose below
vulgarity.' Genius.
Of course Hitler and the Nazis were a ridiculous joke that turned
deadly serious and whilst nothing can be done to undo the horror they unleashed
on the world Brooks’ revenge by sending the whole thing up is bitter, sweet and
entirely justifiable however you look at it. Here endeth the sermon.
Growing up during the golden age of Hollywood
musicals Mel's also neatly tapped into what makes a great number and, on top of
the classic Springtime For Hitler (sample lyric "Don't be stupid, be a smarty, come and join the Nazi party"), the evening’s packed full of glitzy and surprisingly
catchy show tunes including the hilariously camp anthem Keep It Gay. Kudos to
the band and the supporting cast for somehow sounding and looking like there
were several dozen of them on and off stage too, creating a Busby Berkeley feel
on a budget (several of the cast played five or six roles minor roles each, which
is exhausting enough just to think about).
Smart, funny, satirical and with a cast that makes
the most out of every line, gesture and opportunity to dress up (or down in
Ulla’s case...see below...ahem) this production really does have the ‘reich’ stuff.
All photos courtesy and copyright of Manuel Harlan.
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