Reviewed by Judy Richter
Mel Brooks seemed to know exactly how far he
could go before crossing the thin line between good taste and bad in "The
Producers,"
which he created as a movie in 1968 before converting it into a musical in
2001. The resulting show, for which he wrote the music and lyrics and co-wrote
the book (with Thomas Meehan), went on to win a record 12 Tony Awards. Now Foothill
Music Theatre stays
on the good side of the line in its summer production.
There's
also a fine line between a high-energy performance and one in which the
performer seems to be working too hard. Unfortunately the two leads cross that
line. Gary De Mattei, who plays Max Bialystock, the Broadway producer who decides to turn
his penchant for producing flops into a money-making scheme, tends toward the
manic throughout the show. On the other hand, Tim Reynolds, who plays Leo Bloom, the
accountant who inadvertently gives Max the idea and joins him in the scheme,
starts out at a too-high pitch but appropriately modulates his performance as
the show continues. All of the other major performers are spot-on.
As
the show opens, Max has just seen his latest musical open and close on the same
night. When Leo shows up to check Max's books, he comments that Max could make
money on a flop with the right sleight of an accountant's hands. The two then
try to find the worst show ever written and to give it the worst possible
director and cast. They hit upon "Springtime for Hitler," written by
the nutty Franz Liebkind (Ken Boswell), who still worships the German leader. Next they hire
director Roger DeBris (Ray Joseph), who's determined to "Keep It Gay." They also hire Ulla (Brittany
Ogle), a sexy
Swedish actress, to serve as their receptionist until the show opens. Max then
sets about raising money by his proven method -- seducing rich old women who
eagerly pay for his attention with fat checks. Despite the two producers'
efforts to mount the biggest flop in history, "Springtime for Hitler"
is a hit, sending Leo and Ulla off to Rio and leaving Max to go to jail for
defrauding his investors.
Besides
the outstanding performances by Boswell, Joseph and Ogle, the show features
noteworthy contributions by Sean Patrick Murtagh as Carmen Ghia, Roger's
assistant; and Sean O'Connor as the Nazi tenor. The women's ensemble is terrific,
whether playing their own age as usherettes and other characters or dancing in
precise formation as elderly women using walkers. The men's ensemble also does
well, filling many minor roles and contributing some fine dancing to Dottie
Lester-White's
choreography -- kudos to Kevin Stanford, who dances while supposedly playing the violin.
Director
Jay Manley presides
over it all, aided by musical director Catherine Snider, lighting designer Kurt
Landisman,
costume designer Janis Bergmann and sound designer Andrew C. Heller. Beth Anne Wells designed the pigeon puppets for
the rooftop scene with Franz. The set from Diablo Theatre Company was redesigned by FMT's Joe
Ragey.
Opening
night began less than auspiciously. The orchestra had played the overture in
less than fine fashion (too much trumpet), but then seemed to be vamping while
waiting for the curtain to rise. Many in the audience thought there was a
technical problem, but then the house lights came on. Manley took to the stage
to announce that the campus police had asked him to stop the show because
someone had parked in a handicapped space and hadn't set the parking brake. Luckily
the problem was immediately resolved, so Snider and her orchestra took it from
the top again -- this time with better musical results, thus setting the
standard for the rest of the enjoyable show.
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