The Producers @ Stolen Shakespeare Guild
Poster art/photos by Jennifer Stewart and Keith J. Warren
—Review by Jan Farrington
The man is shameless.
I should care about that…but I’m too busy laughing.
In The Producers, Mel Brooks gets away with enough throwback humor to make us wonder if the Millennium and the #MeToo Movement ever happened. How does he bring it off: the swishy gays, the boob-twirling Swedish secretary, the dick jokes? It just goes to show you, the human funny bone is not a sophisticated body part. In our heart of hearts, we love this stuff—and Stolen Shakespeare Guild’s high-energy cast has tons of fun keeping us in stitches.
And I haven’t even mentioned Hitler yet. Oh, Mel.
In case your name is IveBeenInAComa, I will explain that the plot of this 2001 musical, based on Brooks’ 1968 movie and co-written with Thomas Meehan (Brooks created the music and lyrics), involves failing Broadway producer Max (Keith J. Warren) and nebbish-y accountant Leo (Dakota James), who cook up a plan to make a fortune from overselling “shares” of a future Broadway show that’s sure to be a flop. Once the show dies (possibly during its first performance!), they plan to live happily on all the unused money.
Warren and James are absolutely terrific as the odd-couple con men. Leather-lunged Warren roars and rages as the tireless Max Bialystock, who sees Leo Bloom’s accidentally great idea (he really just came to do the bookkeeping) as his last chance to be “The King of Broadway” again. Leo may curl up on the floor with his bit of blankie, but he already knows: nothing will stop Max. After his masterful performance at SSG a few months back in Somthing Rotten!, it feels as if Warren has truly found his musical-comedy groove. Lucky us.
Even their singing voices are a great pairing: Warren’s belting, showstopper tones in “We Can Do It” are just the ticket, but somehow James’ lighter, nicely pitched voice comes through—and feels just right for timid but true-hearted Leo.
The flop they choose to produce is called (what else?) Springtime for Hitler, written by der Fuehrer’s biggest fanboy, Franz (hilarious, cherub-faced Adam Michael Thomas). Wearing a helmet and short pants (just one of designer Kari Makoutz’ many fine-tuned costumes), Franz puts Max and Leo through their paces (“The Guten Tag Hop-Clop”) before he signs a contract. (In this number and throughout the show, Jessica Peterson’s lively choreography is a treat.)
But before Leo can call himself a producer and wear the fancy fedora, the boys need a gorgeous secretary (Megan DuChene makes a sexy and warm-hearted Ulla), and lots of money. To earn it, Max makes the rounds in Little Old Lady Land, collecting checks from octogenarians still hot for a last trot with their beloved “Bialy.” The women of the ensemble (Erin Gayan, Hanna Green, Olivia Hopkins, Saffron Makoutz, and Jennise Streaty) flip from chorus girls to ancient ladies without a blink—and are hilariously synchronized (tapping their walkers) in “Along Came Bialy.”
Robert Bradford Smith is dazzlingly overdressed as Roger Debris, the gay icon (and terrible director) they sign for the show; Hugh Morales is hip-swively and funny as Roger’s sidekick, the temperamental Carmen Ghia. (Am I the last person to remember this is a Volkswagen joke?) And the hard-working gents of the ensemble (Cooper Reed Fagan, Will Frederick, Nate Woodall, and Stephen Wykle) especially shine during the second act, when they’re needed as Nazis (and such) for the gosh-awful musical numbers of Springtime for Hitler.
Director Nathan Autrey pulls fine comic performances from the cast, and the clear, well-done vocals are the work of music director Lauren Morgan with sound team Stephanie Glenn and Jennifer Stewart. Autrey and Morgan both are credited for the inventive, ever-moving set design (the cast gets a workout between scenes), and the nicely theatrical lighting is by designer Julien Makoutz. (I’d love to know if one comically mis-placed spotlight on Max is an inside joke. My guess is yes.)
So I propose a two-fer—especially for fans of Mel Brooks. Catch SSG’s The Producers ASAP, then trot east to Theatre Three’s Young Frankenstein (The Musical), a co-pro with Circle Theatre that opens October 13. It’s a Big Blast of Brooks—what could be Better?
WHEN: The Producers through October 30
WHERE: Fort Worth Community Arts Center, 1300 Gendy St., Fort Worth
