The Trinity Theatre’s latest in-house production is Mel Brooks’ The Producers, based on the 1968 satirical film, which managed to win 12 Tonys when adapted for the stage in the early 2000’s – despite being a seriously off-the-wall show. It’s popularity stems from the fact that it’s an all-singing, all-dancing show, packed with comedy and full of the most incredible characters – ensuring that it delivers on all fronts.
The plot concerns a producer, Max Bialystock, played by the theatre’s Artistic Director John Martin, who was formerly the toast of Broadway but more recently has fallen out of favour, with disastrous financial results. More interested in regaining his fortune (or at least getting out of debt) than his reputation, Bialystock press-gangs a reluctant accountant into helping him put on the worst show Broadway has ever seen, allowing them to keep most of the investors’ money by cooking the books when the cheap show flops and closes early.
They find the perfect piece of incredibly offensive, totally unwatchable detritus in Springtime for Hitler: A Gay Romp with Adolf and Eva at Berchtesgaden, an homage to the Führer written by a former Nazi living in Greenwich Village. All that’s left is to cast it with the least talented people possible, and everything should go according to plan.
John Martin (who bears more than a passable resemblance to Mel Brooks himself), plays Bialystock like he was born for the role, offering a combination of stage histrionics and dramatic facial expressions, while adding in some camp theatrical affectations to round off the character.
As Leo Bloom, Tom Tapsfield is also marvelous, playing the accountant as shy, child-like and nervous until he, gradually, finds a heart, a spine – and himself. Together, the two have the perfect on-stage chemistry – which is to say, no connection at first, then growing into the archetypal “odd couple” over the course of the show.
Elizabeth Bright, Andrew Truluck and Daniel Ghezzi are also wonderful as Swedish actress Ulla Inga Hansen Benson Yansen Tallen Hallen Svaden Swanson, flamboyant director Roger De Bris and De Bris’ young and very attractive assistant, Carmen Ghia, respectively, with Simon De Deney stealing scenes as the playwright, and ex-Nazi, Franz Liebkind.
David Fawcett directs, with many scenes taking advantage of the minimalist set design, instead choosing to fill the stage with motion and emotion, with the pre-recorded music providing a flawless accompaniment.The costumes are impressive, too, whether they are head to toe sequins, Las Vegas style showgirl outfits or Nazi uniforms, all are finished to a very high standard. With such a big ensemble, and particularly when everyone is on stage, there’s plenty of showy variety.
The whole company work extremely hard, particularly in the totally over the top and amazingly camp, Keep It Gay number and, the musical highlight of the show, the inimitable showstopping spectacular, Springtime for Hitler. Whether they are dressed as little old ladies, German storm-troopers, prisoners or the opening night Broadway audience, every member of the cast looks like they are having the time of their lives in this, very well received, show.
Special mention (as it did with Trinity’s Christmas production of The Wizard of Oz) goes to the simply incredible Harvey Ebbage. A dance student at the Urdang Academy, Harvey not only shows off his supreme talent as a dancer with some fantastic balletic dance moves, but also throws himself into each of his characters in this production, with certain parts of his performance being quite “outstanding” (You have to see the show to fully understand that bit)
Opening night wasn’t perfect, the choreography was a little loose on occasions, and there were also some slight but distracting issues with one of the radio microphones, but these are minor quibbles in the face of such an ambitious show, produced and performed so successfully.
Taking on such an iconic piece is a huge challenge for the team at the Trinity Theatre but it’s a challenge that they have met head on and the result is a great ensemble piece, packed with fun and tremendous musical numbers that makes for the perfect summer night out.
**** Four Stars