The Producers
Forget Iron Man and Indiana
Jones! This is not the summer of the film blockbuster but the summer of the
stage blockbuster!
The Producers
makes a delightful appearance at the Stanley Theatre and even with the weather
turning decidedly summer-like, Vancouver theatre-goers should be flocking to see
this one despite the temptations of the sun (or at least warmer temperatures).
Based on the 1968 movie with
Zero Mostel and Gene Wilder (in an odd turn that could only happen in Hollywood,
the 2005 movie with Nathan Lane and Matthew Broderick was actually based on the
stage play which was based on the original movie), The Producers tells
the story of Max Bialystock (Jay Brazeau) and Leopold Bloom (Josh Epstein) out
to create Broadway’s biggest flop in an effort to swindle dozens of “little old
ladies” of two million dollars by over-subscribing the investors in the show.
Needless to say the show, “Springtime for Hitler”, is instead a huge hit.
But a word of warning here -
despite the wonderful acting, singing and dancing throughout the show, in the
end one cannot forget that this is a Mel Brooks show. You know, Mel Brooks of
“Blazing Saddles”, “Spaceballs” and “Young Frankenstein” fame. If you are
looking for a “tasteful” show without some delicious irreverence, side-splitting
slapstick and an over-abundance of stereotypes you had better high-tail it to
Bard on the Beach instead because you ain’t gonna find it here! Consider
yourself warned.
Jay Brazeau and the cast of the Arts Club Theatre Company’s
production of The Producers. Photo by David Cooper.
By far the strongest voice of
the principal characters (perhaps only matched by Terra C. MacLeod as Ula) Josh
Epstein plays the neurotic and nerdy accountant, Leopold Bloom, to near
perfection. Jay Brazeau’s larger-than-life Bialystock is a nice match to
Epstein and the pairing of Mark Burgess as Roger DeBris and Ron Pederson as
Carmen Ghia is absolutely perfect casting (not to mention funny). And of
course, audience favourite, Jackson Davies, takes on the frenetically psychotic
role of Franz, the neo-Nazi pigeon-loving playwright with great abandon.
But more than just the
stand-out leads, this show is also about the supporting cast who play everything
from the blind violinist, the anatomically endowed choreographer to the gaggle
of “little old ladies”. This supporting ensemble does a superb job. A special mention has to
go to the Roger DeBris “team” who played off each other so well that one has to
wonder what extra time Director Bill Millerd must have spent with them to get it
just so right.
Speaking of Director Millerd,
it is indeed through him which the full-on Mel Brooks treatment is realized.
From the Busby Berkeley overhead shot during “Springtime for Hitler” to the
chorus line of dancing “little old ladies” in walkers, Millerd helps bring the
Brooks’ complete vision to life.
Of course, choreographer
Valerie Easton aids Millerd in getting the most of all of these scenes with some
very detailed choreography including the aforementioned “Springtime” and chorus
line. In fact, Easton packed the larger dance numbers with so much detail I am
positive some of the dance numbers would look completely different on a second
viewing.
This is a great end to what
was an uneven season for the Arts Club Theatre Company. Light, frivolous and
extremely funny, The Producers is that summer-time treat much like
the first ice-cream cone of the season.
The Producers is onstage at
the Stanley Industrial Alliance Stage until July 13th. Visit
http://www.artsclub.com for tickets and more information.
