The Producers review: ‘deserves to end up on Broadway’ ★★★★

The comedy always had a seriously satirical side but arriving as this version does just days after the Unite the Kingdom march in London and in an era when swastikas are raised with confidence in Trump’s America the evening has an undertow of urgency. The unfurling of Nazi banners is still shocking.

Meanwhile, fans of the original film and stage productions will have fun spotting new gags. One involves a statue in the boudoir or office (it’s hard to tell which) of the extravagantly camp director Roger DeBris (Trevor Ashley). Another turns Max’s opening number into a full-on shtetl showstopper that could have been ripped from Fiddler on the Roof. Then there is the recorded voice of Mel Brooks himself rapping the immortal lyric from the signature tune Springtime With Hitler: “Don’t be stupid, be a smarty, come and join the Nazi party.”

This is the title song of a show carefully chosen by Max and Leo to fail as part of their scam to keep the money invested by lustful old ladies “shtupped” by Max in exchange for a “chequey”. Cue zimmer frame chorus line.

One mark of this production’s worth – Marber’s not Max’s - is the high quality of the supporting performances. To name a few out of many Harry Morrison’s lederhosen-wearing Nazi Franz is downright hilarious while the power singing of Joanna Woodward’s Swedish secretary Ulla knocks socks off. Also impossible to ignore is Jermaine Woods who fleetingly skewers the way choreographers almost dance (guided, no doubt by this show’s excellent real choreographer Lorin Latarro).

I have just one reservation. Crushingly anxious Leo is a hysterically funny hysteric and, as enjoyable as Antolin is in the role, he isn’t a natural comedian. I enjoyed him hugely as Chagall in the Flying Lovers of Vitebsk but if this show gets to Broadway I fear he would not get past the ruthless Brooks test which famously ended up with Henry Goodman getting sacked before he could perform his Bialystock to the critics. Nyman, however, would be just fine.

One can convey the triumph of his Bialystock by observing the often Jewish detail of his performance; the tiny gesticulations in which thumb and forefinger are pressed together for

emphasis; the comb-over stuck to the forehead by the sweat of anxiety; the innate kindness with which he views the humanity he preys on.

But perhaps it is enough just to say you don’t miss Mostel for a single moment of this revival’s two and half hours, which could not even be said of Nathan Lane’s performance. And you don’t get higher praise than that.

The Producers

Garrick Theatre

The JC will be hosting a showing of The Producers followed by a Q & A with the cast at 7.30pm on November 13. Book here: //ticketing.nimaxtheatres.com/tickets/