Producing up a storm

There’s something very funny (in both senses of the word) going on in The Producers. This is a dazzling Australian version of the Mel Brooks musical, but beneath the glitz and the laughs, there’s a story that has a go at just about everyone. While the Broadway “system” is the most obvious target of Brooks’ wit, he also takes calculated aim at accountants, Germans, Swedes, critics, the elderly, the gay and (of course) producers. And while the audience comprised representatives of many of these groups, none seemed to mind in the least.

Brooks’ great achievement with The Producers is to have made the play so good-natured and accessible that everyone can laugh along with it, even as it pokes fun at them. After all, if you can’t laugh at yourself, who can you laugh at?

The Producers is a larger-than-life, bolder-than-brass, all-singing-all-dancing romp that barely puts a foot wrong. From the astonishing sets to the fantastic costumes; from the polished performances to the exuberant songs, this is a production that simply oozes class. That may have something to do with the fact that the man himself (Mel Brooks) is involved in the Oz production.

The story itself concerns producer Max Bialystock (Reg Livermore) and his sometime accountant Leo Bloom (Tom Burlinson). Max is down on his luck. He hasn’t had a hit for years and his latest production has been panned. To fund his extravagant shows, he’s reduced to wooing money from old ladies keen for a little male attention. When he arrives to do Max’s books, Leo (who’s always harboured a secret desire to be a producer) discovers that a shrewd producer could actually make a lot more money from a flop than could be made from a success. The plan is simple – raise $2 million for a show, but make sure it tanks. Intrigued, the greedy Max sets up shop with Leo and the pair set about finding the most appalling play they can. Luck shines on them when they discover “Springtime for Hitler”, a neo-Nazi tract written by the potty Franz Liebkind (Bert Newton). They hire the worst director they can find – the flamboyantly effeminate Roger de Bris (Tony Sheldon); and pick a Swedish leading lady in the statuesque Ulla (Chloe Dallimore) who can barely speak English. With a line-up like that, what could possibly go wrong?

The show is littered with highlights – the storm trooper dancers; Leo’s epiphany in his accounting firm; Ulla’s attempts at redecorating the office; Franz’s pigeons and the (literally) glittering finale chief among them. But the whole thing is a sheer delight. For those with children, be aware that there are some quite adult concepts and language going on here, but probably no more than would rate a PG at the cinema.

Mel Brooks has been quoted as saying that the Australian cast is one of the best the show has seen, and he should know. Reg Livermore, although perhaps ever so slightly miscast, is nonetheless outstanding both vocally and theatrically. Tom Burlinson brings huge energy to his role as Leo, and the two make a great team. Chloe Dallimore and Tony Sheldon each garner plenty of laughs; but perhaps the stand-out is Bert Newton as the eccentric (and that’s putting it mildly) Franz. Who would have thought that the darling of morning television could transform into such a character?

The Producers is a wonderful night out. Brilliantly staged, full of life and very funny, this is a production virtually everyone can revel in.

David Edwards

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The Producers

Sydney Season
Venue: Star City Casino
Dates: From 14 May 2005