Where Did We Go Right?

The Producers

For 22 years this hilarious musical has been entertaining theatre audiences all around the world. Mel Brooks’ adaptation of his own classic 1967 comic film of the same name was advertised as featuring something to offend everyone. And the claim remains true, especially for more conservative theatergoer. It’s an unusual selling point, but then Mel Brooks’ brand of humor has always been based upon the unorthodox, often shocking his audience while making them laugh. One need only look at his other comic film classics, such as “Young Frankenstein” and “Blazing Saddles.”

Why is “The Producers” considered shocking? Well, with music and lyrics by Mel Brooks and a book by Brooks and Thomas Meehan, the musical is liberally peppered with some very adult language and a lot of shameless sexual situations. Of course, that criticism can also be leveled at many other contemporary Broadway plays and musicals. However, the really controversial, almost tasteless element of Brooks’ first musical is the plot of his show-within-a-show. But its presented in such a way as to poke fun and generate laughter. 

The musical is about two Broadway producers: the gutsy veteran of countless productions, Max Bialystock, who’s tired of producing flops; and his shy, newbie partner, a mild-mannered accountant named Leo Bloom, who’s always dreamed of being in show business. While examining Bialystock’s financial records, Bloom casually remarks that there’s $2,000 unaccounted for in the ledgers, so Max asks Leo to do some creative calculating to hide that fact. While working, Bloom jokingly mentions to Max that a producer could make a fortune if he fraudulently raised more money for a show than was needed, particularly if he knew that the play was destined to fail. Suddenly a lightbulb goes off in Max’s head and the illegal plan is off and running. 

The two men decide to join forces in this get-rich-quick scheme. After reading through hundreds of bad scripts, they find the worst show imaginable. It’s entitled “Springtime for Hitler: A Gay Romp With Adolf and Eva at Berchtesgaden.” First they secure the rights for the play with its author, Franz Liebkind, a bizarre ex-Nazi whose only friends are his coop of pet pigeons. Next they hire a flighty, flamboyant cross-dressing director named Roger de Bris, who comes complete with his own gay creative team. Then they audition actors for the musical, including a sexy, Swedish blond bombshell named Ulla. The double-jointed Miss Swanson is also hired to work closely with Bialystock and Bloom as their new receptionist and secretary. Both men fall helplessly in lust with the lovely woman, which only complicates their scheme.

But, imagine Max and Leo’s surprise—nay, shock—when, instead of producing a flop that offends the critics and opening night audience, the show is viewed as a witty parody and turns into a smash hit. The  overnight success of the production makes the men wonder, “Where Did We Go Right?” Max is arrested and jailed while Leo and Ulla run off together to Rio with all the money. But a guilty conscience eventually prompts Bloom to return to New York in order to share the blame with Bialystock. The two are imprisoned but, while in Sing Sing, they develop a musical entitled “Prisoners of Love.” By rehearsing their cast of convicts for the show they provide happiness and positivity to the inmates. The governor notices this and pardons Max and Leo. They go on to produce the show on Broadway and Bialystock and Bloom at last become the renowned and wealthy producers they always wanted to be.

This 2001 musical had its pre-Broadway opening here in Chicago. It starred Nathan Lane as Max Bialystock and Matthew Broderick as Leo Bloom. It became a popular and critical success, both in the Windy City and on Broadway. It broke box office records for sales and, despite a few critical comments, wowed both the patrons and the press. At the Tony Awards, the show garnered a record-breaking number of nominations, ultimately taking home 12 of the 15 trophies. In 2005, the musical was adapted for the silver screen, also directed and choreographed by Broadway’s Susan Stroman, and featured most of the same original cast. The popularity of the New York show inspired a London production, as well as countless other international variations and tours. 

I’ve always loved this musical, having seen many, many productions of it. I was there for the press opening of the Chicago pre-Broadway production, and I attended the slightly reworked New York version. I’ve seen every national tour and Chicagoland production, including at the excellent Marriott, production, the country’s very first regional theatre to do the show. Simply put, it’s one of those musicals I always try to see wherever it’s produced.

This new production is a mixed bag. “Where Did We Go Right?” Well, first the good news. The 16-piece pit orchestra, conducted by Music Director extraordinaire, Eugene Dizon, is simply splendid. The talent and showmanship of this group of gifted musicians is probably the finest element of Music Theater Works’ latest production. They brilliantly fill the space of Skokie’s vast Northshore Center with their glorious sound. This is, after all, what Music Theater Works has been known for all these years. If hearing a group of masterful musicians playing their hearts out generates goosebumps for you, then this is a must-see production. Eugene Dizon and his orchestra are simply flawless and Mel Brooks would be thrilled to hear his score played like this.

Music Theater Works’ production has some other high points. I’ve always admired the way Director L. Walter Stearns inspires and guides his casts, especially like this large, talented company. Sometimes he simply has to navigate, control and focus his crowd of performers. Darryl K. Clark’s impressive and wildly spirited choreography helps keep these scenes magically moving. But there are also some gentle, quieter, more intimate scenes and that’s where Mr. Stearns really excels. Unfortunately, due to the large stage, these moments struggle to hold our attention against Jonathan Berg-Einhorn’s expansive scenic design. Andrew Meyers’ lighting sometimes helps the director reign in the broad boundaries of the stage setting, but he has a challenging task.

Rachel M. Sypniewski, assisted by Krisin Brinati, has designed and created some excellent splashy and spangly costumes, headpieces and wigs. The wardrobe for “Springtime For Hitler,” as well as Roger de Bris’ over-the-top Act I costume, are standouts. Transforming almost the entire company into Little Old Ladies was no simple feat and all the “Opening Night” and “King of Broadway” ensemble members instantly became memorable characters because of how they’re dressed.     

Recently seen as Charlemagne in MTW’s excellent, reimagined production of “Pippin,” Thomas M. Shea does a commendable job in the role of Max Bialystock. As King Charles, I noted that Shea had a certain Nathan Lane quality in his portrayal. To be fair, Max is a very demanding role. Mr. Shea is onstage for virtually the entire show. It’s a role that requires an energy that continuously sizzles just below the surface, but when it’s unleashed it bursts forth in an uncontrollable rush of emotion. Nathan Lane set the standard for this musical role, while the late, great Zero Mostel created a somewhat tamer version of Bialystock in the original film. Mr. Shea is more like Mostel, which is often fine. But sometimes the actor gives the impression that he’s, quite understandably, somewhat overwhelmed. It’s as if the actor has run out of steam. This problem occurs in both acts, but particularly in the last few scenes of the play. The actor’s  strong singing voice also feels overtaxed at times, although he does an excellent job with the challenging, fast-paced patter song, “Betrayed.”

Doing a very fine job as Leo Bloom is David Geinosky, who was last seen at MTW in “Irving Berlin’s White Christmas.” The handsome young actor has a pleasing voice and is a graceful dancer, particularly demonstrated in his Act I production number, “I Wanna Be a Producer.” Mr. Geinosky has managed to temper both his speaking and singing voice to sound remarkably like Matthew Broderick, the actor who created the role of Leo Bloom. His character’s underdog character, shy demeanor and dreamlike awe at suddenly living his dream of becoming a real Broadway producer makes David Geinosky the audience favorite.

Other cast standouts include lovely, lithe Kelsey MacDonald as a stunningly flexible Ulla; the hilarious Sam Nachison as an imposing, melodramatic Nazi playwright, Franz Liebkind; and the outstandingly exaggerated and highly theatrical Roger de Bris, as played by Steve McDonagh.

Where this production tends to fall short is when the microphones occasionally fail. After the audio problems in their production of “Billy Elliot,” I’d think this company would err on the side of caution. Another, and even more important trait of this kind of show is that it always needs to be totally bang-on.  Every lyric, every line, every comic bit needs to be executed sharp, fast and clean for them to land properly. Sometimes the ensemble comes across as too precious. It’s as if they think the audience isn’t capable of “getting it,” so certain actors mug, trying to nudge theatergoers toward the punchline. Have faith in your audience; they’ll get it. 

One of the many clever bits in this production was when, while singing, Sam Nachison literally “changed the key.” It was unexpected and very funny. But in contrast, a rather painful moment in this production came when the much-awaited musical production number suddenly stopped and Steve McDonagh crossed downstage to sit and deliver a monologue. Why? It broke the pacing, felt out-of-place and I don’t think it was in the original script. Why was this added? The unnecessary interlude only served to make an already too-long production even longer.

In spite of some occasional shortcomings, there’s still a lot to recommend in Music Theater Works latest production, their 150th. The company was even honored for their continued excellence by the Mayor of Skokie, just before the opening night performance commenced. Eugene Dizon’s Musical Direction and his Conducting of that glorious orchestra is, without doubt, the best reasons to enjoy this show. They especially excel when playing the jazzy overture and the brassy entr’acte. But then they go to town while accompanying numbers like “We Can Do It,” “When You Got It, Flaunt It,” “Along Came Bialy,” “That Face,” “Prisoners of Love,” “The King of Broadway” and, of course, “Springtime For Hitler.” Mel Brooks’ script builds to that big, lavish production number and this production doesn’t disappoint. It’s the moment we’re all waiting for; but then, sadly, the script seems to fizzle as it winds its way to the finale. But it’s undeniable proof that “When You Got It, Flaunt It!”              

Recommended

Reviewed by Colin Douglas

Presented August 10-20 by Music Theater Works at the North Shore Center for the Performing Arts, 9501 N. Skokie Blvd., Skokie, IL.

Tickets are available at the theater box office, by calling 847-673-6300 or by going to www.MusicTheaterWorks.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.