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'The Producers' is a no-holds-barred comedy
The Mel Brooks assault on sensibilities will have you laughing in the aisles
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September 24, 2009 | 11:48 AM
Leave your moral compass at the door and batten down the hatches. You are now ready for a no-holds-barred equal-opportunity offending hysterical comedy.
"The Producers," (written by Mel Brooks) directed by Jeffrey Sanzel is now playing at Theatre Three in Port Jefferson. This show is a virtual smorgasbord of bawdy assaults on every stereotype and nothing is off limits.
You'll find a delicious pompous big-shot producer in Max Bialystock played by Scott Hofer, a high-anxiety, spineless, hesitant book-cooking accountant (Leo Bloom) who is a wannabe Broadway producer played brilliantly by Tony Butera and the lovely Ulla, played by Suzanne Mason, a Swedish blonde bombshell, starlit wannabe, who charmingly orchestrates her own version of the casting couch. This show is rich in talent and bursting with audacity.
The show opens to Randall Parsons' set design which gives the feel of Broadway with lighted signs locating such familiar sites as the Shubert Theatre, The Astor Hotel, Piccadilly Hotel, Helen Hayes Theatre and the St. James. Lighting designer Robert W. Henderson Jr. builds the excitement of the stage with bold color choices throughout the show. Costume designer Ronald R. Green III methodically makes wardrobe choices which, in the opening scene, introduce us to a cross section of New Yorkers including the obligatory bag lady, a blind musician, a couple of nuns, a street cleaner and of course you can't walk down the streets of New York without encountering a wino here and there. The numerous costume changes that occur in the show were a true credit to Green and are spot on.
The story centers around Max Bialystock and Leo Bloom who meet because Leo's accounting company has sent him over to Max's office to review his books. Everything about Max's funding of shows is downright audacious as he has a collection of geriatric nymphomaniacs who are only too happy to donate to Max's next production in exchange for a little nooky. He goes so far as to have the checks made out to the next production's name, "Cash."
Leo finds the surplus money in Max's accounts in spite of the shows' failure to be a hit. Speaking out loud, Leo blurts out how the additional surplus will never be found by the IRS because they would only audit in the case of a hit show. This prompts a plan which Max ultimately convinces Leo to be onboard with. They then set out to produce a show that is sure to flop so they can pocket the surplus funds.
Leo, a complex character, has more personality glitches then a Dalmatian has spots. Max is a contrast to Leo in every way. He is without limits in what he will do to make a buck and makes no apology for his lack of conscience. Ulla, as a result of her adorable womanly wiles lands a job as a "receptionist slash secretary" and takes a liking to Leo who has no idea and when he does realize her affections, has no idea how to respond.
After reading every bad play they could get their hands on, Leo and Max select a script that is sure to offend, that is, to ensure it will close right after it opens which will maximize the surplus for them to split. The cast of characters they assemble to create this flop is side-splitting and reaches new heights of the ridiculous. The play they choose is "Springtime for Hitler," written by Franz Liebkind, a German fanatic who idolizes Adolf Hitler and is gloriously portrayed by Evan Teich. Teich's performance was delectably offensive and the lengths he goes to to glorify his idol are engagingly outrageous.
After many soul-selling moments, Max and Leo obtain the rights to produce Liebkind's show. In need of a director, they engage the directorial talents of the vivacious Roger De Bris, played by Douglas J. Quattrock, who lives and works with his gay assistant/companion, Carmen Ghia, played by Jim Sluder. Quattrock bursts on the stage in his twinkling designer gown and is a real treat. This role demonstrates Quattrock's range as he demonstrates the many facets to his character. The scene takes place in De Bris' home where he lives with his whole gay production team, adding yet another layer of comic audacity. Sluder and Quattrock have a wonderful chemistry which makes the flamboyance between them work authentically.
Max seduces De Bris into directing the show by holding the ultimate performance carrot over his head — a possible Tony. Max, Leo and Roger with the lovely Ulla always close behind, hold auditions assembling the worst misfits in the theatrical world to fill the roles in their upcoming production of "Springtime for Hitler." It is a gathering of the most unlikely candidates to fill the role of Hitler and it is decided that the outrageous Franz Liebkind will play the part.
Without giving away how it all works out, suffice it to say, this tribute to Hitler doesn't miss an opportunity to offend and is a recipe for a real flop at the box office. However, for Max Bialystock, things don't always work out as planned.
"The Producers" offers classic Mel Brooks in-your-face comedy. You will find many of Brooks' trademark elements such as the "walk this way" gag. Musical director Ellen Michelmore provides an upbeat and exciting musical backdrop with powerful vocals delivered by Hofer, Teich and Mason. This production offers strong ensemble work with notable featured performances by Elizabeth Ann Trupia, Morgan Howell Rumble, Charlie Rivera, Jake Sokoloff and Tyrell Roberts. The compilation of seasoned talent and attention to detail in this wild stage ride is a credit to Sanzel. Theatre Three has once again taken Broadway and brought it to their stage.
There has been no person in any category spared by this production. Old ladies and their dancing walkers, chorus girls with their vibrant plastic smiles kicking it up, gays, lesbians, theater people, police officers, adorable usherettes with their pillbox hats, and so many more.
There is still time to see this extraordinary treasure trove of talent present "The Producers," playing at Theatre Three through Oct. 24. For more information or tickets, call Theatre Three box office at 928-9100 or log onto www.theatrethree.com.
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