Mel Brook’s 1968 film The Producers metamorphosed into the 2001 Broadway musical, finally arriving in London 2004, and this week – triumphantly, magnificently, superbly presented at the Bridewell by David Taylor (Director) Colin Guthrie (Musical Director) Jane Saunders & Janet South (Choreography). If you missed it - book now at the Minack Theatre! Worth a trip to Cornwall.

In a TV interview long ago, Brooks agreed that “he had set out to offend as many people as possible”, and the first film audiences were appalled at his over-the-top take on gays, old ladies, Jews, Nazis, and dumb blondes. By the time the musical came along, however, audiences were more sophisticated and it became and has remained a hit, playing in over 50 cities, (I first saw it in Berlin), winning 12 Tony awards, and breaking records everywhere.

Briefly, the story is about a failing Broadway producer, Max Bialystock, (the name of a tiny Jewish town/village in a Polish shtetl) and his accountant Leo Bloom. They come up with a scheme to oversell interests in a terrible show which closes immediately so they can pocket the profits. They feel sure of success when finding a raving Nazi who has written the love story of Eva and Adolf in Berchtesgaden - the sure-fire flop they’re seeking! Only it isn’t. The audience and critics fell about laughing, as we did.

Mel Brooks was not the first to believe that laughter was more effective than rhetoric. Chaplin in The Great Dictator led the way. And he was not the last to find success with vulgarity … think of Jerry Springer, the Opera. But more than anyone, he provides a combination of dancing, singing, brilliant quick fire one liners, and mickey-taking that is hilarious and not lost its bite.

The show opens with a parody of Fiddler on the Roof, complete with wedding dances and even a brief glimpse of the bottle dance. Max finances his shows by “giving pleasure” to little old ladies, and in return they adore him and give him cheques. (“The name of the show is “Cash”, just make it out to that.”) As every character is so over camped, we enjoy abandoning all political correctness. The old ladies who pay for “sex n’games” (on a card check system with names like “Lick-me Bite- me” and “Hold-me Touch-me”) have a rousing, stomping zimmer frame chorus. The Nazi - (Franz Liebkind = Sweetchild) in lederhosen, armband swastika plus helmet – sings to his homing pigeons .. which turn their heads and move their wings in time to the music! In a show full of wonderful props, this was the best of all. Roger de Bris (the worst director in town) wears a gown and headdress like a silver & black Chrysler building. (Is it an accident that a Bris is Hebrew for circumcision?) His assistant, Carmen Ghia, all limp wrists and black leather, with a mincing walk is named after a Porsche model. The great show stopping number, Springtime for Hitler and Germany, has Busby Berkeley leggy girls in magnificent costumes with sequined frankfurters, or golden pretzels, or Viking horns on their heads. As they descend the stairs, it is like an Esther Williams film with synchronised swimming.

The dancers dazzled,and in a small space, each one moved with ease and grace. The singing and acting suited every role, and rarely have I heard such clear diction. The entire cast were superb, but I must mention a few by name : Max Bialystock played by Philip Halpin (new to the Tower) had an easy charm, looking slightly like the young Alan Bates, and epitomized “Chutzpah”, or cheek. With a great voice and self-confident manner, his is a commanding presence. He was perfectly matched by Daniel Bogod as Leo Bloom, the nervous and hysterical accountant corrupted into Max’s schemes. These two - one strong and assertive, the other frail and thin, became a trio with Katie Waller, (new to the Tower,) as Ulla Inga Hansen Bensen Yonsen Tallen-Hallen Svaden-Svanson … Mel Brook’s take on the archetypal Swedish dumb blonde. Katie high-kicked and shimmied with an all-embracing, twinkling smile - no wonder Leo Bloom fell in love with her!

Others new to the Tower were Lee Thompson as Liebkind, Edward Walsh as Roger de Bris, and Angus Jacobs as Carmen Ghia. All credit to the director for finding such strong leads, each one an excellent character actor. Lee’s loud, crashing, numbskull Nazi had a way with mind boggling lines like “The Fuhrer was a terrific dancer. Not many people know this.” and “Hitler’s middle name was Elisabeth … he was descended from a long line of English queens.” Edward expressed disbelief/shock/surprise by somehow receding his jawline, which was very funny - as was his Hitler, despite the ghastly sight of jackboots, Nazi flags and swastikas joyfully paraded to lyrical music. Angus’s facial contortions spoke volumes for each wave of emotion : grief, joy, surprise, disbelief following in rapid succession. In a cast of 24, familiar faces were Alison Liney and Vyvian Shaw, (two little old ladies, with Alison wonderfully quavery as the first Hold-me Touch-me) and Victoria Davis and Victoria Flint, (both multiple characters.) I hope that all the cast, who were so good, will come back to the Tower for another production.

The 12 strong band - as ever, led by Colin Guthrie - were excellent. Loud - but not too loud, so we could still hear the singers. They set the mood the second the lights went down, and did not once falter despite what seemed to be about 25 numbers. Alan Wilkinson & Robin Snowdon’s lighting took, I understand, until 5 a.m. to complete, and it was perfect. Phillip Ley’s set design made our first glimpse of the stage exciting, and the Props and special furniture construction (Andy Hind) amazing … imagine about 10-12 desks, tall enough for men to stand behind, suddenly opening and out step the chorus! Better than any wedding cake. Sound - so important in any musical - designed by Stephen Ley enveloped the theatre. Special mention must be made of costumes : Irena Panser, Alex Scully and Lynda Twidale produced a staggering number of wardrobe changes for this enormous cast. Even allowing for hires, the work must have been monumental and every costume looked beautiful. Choreography by Jane Saunders and Janet South was wonderfully inventive and fast moving, and will, I’m sure, open out and be even more spectacular at the Minack. Full marks must also go to the crew for scene changes carried out with such speed and efficiency, during which the dialogue or singing continued down stage. Lessons here to be learnt for future productions.

Well, this is a review of superlatives. I have never before written a review and not found some point, however small, to criticize. I asked 8 Tower members if they could name one single aspect they did not like but no one could, and nor can I. Thank you, David Taylor, thank you and everyone in The Producers for an intoxicating evening of pure pleasure!

Photography by Ruth Anthony