Reviews come out a lot faster when the critics leave at intermission! But take it from this critic— if you leave at the intermission, you’re only getting half the hilarity, half the good times, and half the damn show! I could never! And you should never! But you SHOULD definitely get your butt to a seat at The State Theater of Havre de Grace for what is a surprisingly heartfelt but equally off-the-rails funny production of Mel Brooks’ The Producers. Directed by Allan Herlinger with Musical Direction by Jarrett Rettman and Choreography by Melissa Fazzino, this madcap chaos of a show is the perfect way to forget your troubles and get hilariously happy for a couple hours’ stage traffic over the course of the next two evenings.
With balcony window-doors and closet doors, one might almost expect a farce from Jared Noe’s set design, but it’s just good old-fashioned Mel Brooks’ grade nonsense happening up on that stage. You get the full officepartment (office + apartment = sad ex-King-of-Broadway’s living and working quarters) stretched out evenly across the traditional proscenium stage of The State Theatre, with simplistic blackout style curtains that can be dropped to cover the set when needed. Noe also brings a rolling sliding-extension from the main stage out from under the front apron to create scenes in the CPA office in the first act, as well as inside the ‘theatre’ for bigger numbers in the second act. And just for a touch of home-homage, the ‘theatre’ that Max Bialystock’s Funny Boy is opening at? A glorious red-and-blue painted mock-up of? You guessed it! The State Theatre. Adding to Noe’s scenic work is the lighting design of Patrick Yarrington, who really hones in on the ‘glamour and glitz, sequins, and…erm, well, you get the picture… when it comes to glorious illuminating tricks throughout the performance. Yarrington ensures that from a well-lit standpoint that “Keep It Gay” lives up to its namesake and has other clever uses for colorful mood lighting throughout the production.
Referring once more to those golden Mel Brooks’ lyrics, “glamour and glitz”, Costume Designer Marta Noe is on it— particularly when it comes to giving those ‘chorus girls’ seen in “I Wanna Be a Producer” all the razzle-dazzle and sparkle they need to look flashy and sassy in that number. There’s also a wild ‘street character’ assortment of costumes featured during “King of Broadway”, not the least of which includes a high-class street-walker and her pimp-man, as well as a bag lady, a nun, and a proper hobo! It’s a wild affair. (Still waiting on those silver-sparkle tap-shoes for Leo in “I Wanna Be a Producer” but if that’s Noe’s only missed-step in the show’s sartorial selection, she’s ahead of the game!) Noe also really goes all-out with those hand-crafted headdresses seen during “Springtime For Hitler.” The floral ‘lil-old-lady’ dirndls featured during “Along Came Bialy” are also sending up some serious curtain-Sound-of-Music vibes (which gets a little nod in Franz’ scene too.) Ultimately it’s a well-costumed show that just adds to the laughs that roll from jump street in this production.
Musically, you’ll be impressed with Jarrett Rettman’s capability to take an ensemble of a dozen or so and make them sound like twice their numbers. Sound balancing (Nick Hankins) is still being…tweaked…but that’s an ongoing learning-curve at The State, though they do appear to be making progress with it. You get full vibrant ensemble sounds, albeit a little muddled during that full-cast end-of-act-one sequence, throughout the performance, and when he’s got the little old lady choir bird-squalling along during “Til Him,” it’s simply hilarious. (Even more so that Allan Herlinger has them slam-shut the curtain on said little old lady choir right after Max tells them to stop helping him, so that they can then sing in dulcet harmonious tones, unseen!) The duets and trio numbers are equally resplendent and Rettman’s guidance amongst the principal cast is well-grounded.
From a dancing standpoint, choreographer Melissa Fazzino makes use the entire play space, including a down-front-in-the-house area of the stage so that her dancing ensemble members can really put their hidden treasures on display. (Shout out to Katie Noe, who can only be seen in “I Wanna Be a Producer” as a tapping chorus girl. You won’t be able to take your eyes off of her as she smiles and fling-kicks her way through that number!) Fazzino’s dance corps— Lucia Beanblossom, Amanda Beanblossom, Emma Stiner, and Lexi Hauck— joins with the rest of the ensemble— Jason Patrick Edwards, Michael Maistros, Jeff Tribbitt, David DeFrank, Liz Hopkins, Kelly Divito, Kate McOwen, and Pam Provins— to really give it their all during “Springtime For Hitler”, which is the quintessential show-stopping number of hilarity— between the marching-pinwheel-swastika and the boxing-out-dance break scene which features Stalin, Churchill, and FDR being taken out by Hitler— you won’t be able to stop laughing while you enjoy all of this frenetic movement. Fazzino also does a lovely job creating a duet-dance routine for Ulla and Leo during “That Face” which really helps emphasize their adorable, meet-cute chemistry.
Allan Herlinger has the pacing of the show down pat. It moves smoothly and swiftly without any nightmarish scene changes. Herlinger takes advantage of the fact that he has a functioning stage curtain and a downstage-in-house play space and utilizes them accordingly. He also takes advantage of the unique under-drop vom exits at The State, staging the courtroom scene on top of each of those. The scenic pacing with exchanges between actors is also sharp and swift— and there’s a nice little nod to The State’s last production (Company) when Max and Leo are trying to find ‘the script’ and you se Leo pick up the libretto for Company. The pigeon hut (not sure if that’s a split credit between Herlinger and Jared Noe or not) is pretty impressive as well. It gets rake-angled toward the audience for the introductory scenes with Franz and has a bunch of mobile wooden pigeon puppets inside…complete with pigeon poo streaks on the outside! Herlinger’s overall vision for this production is nothing too deep and that’s exactly what Mel Brooks would want; comic, nonsensical, feel-good fun. And he’s not trying to copy and paste whatever big Broadway House or hot-shot movie-stars did it last either. It’s very down-to-Havre-de-Grace-earth, unique to itself, and serves the story, while letting the actors bring their versions of these characters to life within the confines of the libretto, music, and lyrics. It’s an impressive effort, showcases a great deal of talent and originality, and the amount of fun being had by the cast on stage is palpable to those in the audience, which creates for a great feedbacking experience.
The aforementioned ensemble— Jason Patrick Edwards, Lucia Beanblossom, Amanda Beanblossom, Michael Maistros, Emma Stiner, Jeff Tribbitt, David DeFrank, Liz Hopkins, Lexi Hauck, Katie Noe (for one-number only!), Kelly Divito, Kate McOwen, and Pam Provins— is working triple-overtime filling out all kinds of roles, not the least of which is all the “little old ladies” of “little old lady land” featured during “Along Came Bialy.” But the one you truly won’t be able to take you eyes off of us Jeff Tribbitt, who is just a burbling ball of bombastic energy, bouncing from character to character. You get to see him first as the outraged, bellowing Mr. Marks, CPA in charge of poor little Leo, and watching his facial expressions at the end of that number are hysterical. He appears later as ‘Scott the Choreographer’, one of Roger’s entourage, and he’s flouncing flamboyantly around the stage trying to give Roger and Carmen both a run for their money! You won’t be able to take your eyes off of Tribbitt, regardless of what scene he’s in, whether it’s auditions or as a spare police officer toward the end; he’s a hoot!
Speaking of hoots, Ethan Buttman as Carmen Ghia is exactly that. Or maybe a hisssssssssssssss. Sssssss. Sss. Buttman is channeling some serious flaming-queen energy into that character and it’s laughter that will have you gut-busting in your seat. Plus, you get to hear Buttman’s solid singing voice as the ‘Nazi Boy Scout’ character taking vocal lead-point during “Springtime for Hitler.” Dueted and paired up with James Meadows’ Roger Debris, Buttman and Meadows make for a comic crackup of a duo and they’re both delightful on stage. Meadows has the perfect demeanor for the audience’s introduction to Roger. Very tasteful. Very demure. Then that flies right out the window into flaming, over-the-top, flamboyance. And it’s epic. But where Meadows’ truly shines (and believe me both Meadows and Buttman are shining like the top of the Chrysler Building during “Keep It Gay”) is as Führer in “Springtime For Hitler.” With an extraordinary singing voice that just bowls you over and hips that could swivel punch their way out of a fight with Ali, Meadows is owning both as the role of ‘Roger as Hitler’ and the moment with all the tenacity in existence. It’s wild and wonderful.
Phil Hansel is a law onto himself as the off-kilter Franz Liebkind. A little soft and a little silly but equally terrifying, Hansel brings that comedic balance to the unbalanced former-Nazi man. His German accent is a little…so-so. But we’ll chalk that up to Hansel trying to deny that his character is a Nazi and perhaps mainstreaming a different accent so no one knows his true past or loves. His singing voice is solid for both “In Old Bavaria” and “Der Gutten Tag Hop-Clop” and you even get a rousing rendition of “Have You Ever Heard the German Band?” from him in act two. But where Hansel is running away with the show, stealing all kinds of moments, is with his physicality. Between the leaping in “…Hop Clop”, the frolicking with the pigeons, and the Frankenstein-busted-leg-dance-grooves during “Prisoners of Love” you won’t be able to stop chuckling and enjoying yourself. Pretty spry and impressive!
If you got it? Flaunt it. And Rachel Bagley has got. That blazing, intense, surefire confidence that one needs to succeed if one is going to play the role of Ulla. (We’re not typing the character’s full name again. You wanna hear it? Go see the show!) Bagley is a knockout in the role, flirty and cheeky but oh-so-innocent and naïve all at the same time. It’s a brilliant balancing act. And during “When You’ve Got It, Flaunt It” she’s serving face, giving dance, and boy oh boy does she nail her belt. There’s also a demure and tasteful side of Bagley’s Ulla that you see whenever she’s interacting with Leo. Their chemistry is so sweet it’s giving off diabetes vibes. But it also feels genuine, which is part of Bagley’s balancing tricks that she works into the role. Her singing voice is smooth and well-matched against Leo for “That Face” and she’s managing a passable Swedish accent, that even carries into her singing voice for the most part. Confidence for miles, Bagley is making this Ulla someone you want to watch, and see, and hear in this production.
Leo (Daniel Michel) and Max (Brian Ruff) up off their backs and boy oh boy oh boy are they a dynamic duo! You’ve got Michel serving up some serious nervous stammering and neurotic tendencies while Ruff is bringing the ballsy, brassy, growling gruff man about town type to the stage. Michel and Ruff have an excellent repartee, whether it’s Ruff attempting to get up in Michel’s face barking his head off, which is hilarious as Michel is a good deal taller than Ruff, or the pair of them trying to determine whether or not they’re into their present situation “too deeply” or not. When they sing together, particularly for “We Can Do It”, you get an excellent union of two talented voices that really bring their characters to life.
Michel, as the twitchy and cowardly Leo, really brings a mercurial vivacity to the character. At first he’s mellow, mealy, milquetoast, and rather meek. Which is exactly what one expects from a Leo Bloom, but what you get with Michel’s Leo Bloom in those moments is an authentic sense of this mousy character, and not a Matthew-Broderick-caricature presentation. You get the first taste of Michel’s bolder, blossoming voice when he gets that instant of bravado that precedes his initial verse in “We Can Do It”, though he’s quick to collapse both physically and vocally back into the diminutive mouse that the character is perceived to be. There is something extraordinary about Michel’s ability to create this nervous-wreck of a shrunken character inside his tall, looming stature; it’s truly brilliant. And you get a proper confidence-bolstered glow-up from Michel’s Leo when he belt-blasts his way through the backend of “I Wanna Be a Producer.” There are dozens of magical moments where Michel lends earnest credibility to the character of Leo Bloom, particularly during all of those lovely moments with Ulla. Rachel Bagley and Daniel Michel have excellent meet-cute-quick-blossom chemistry and when they swing all around the office during “That Face” it’s just divine.
Taking Max Bialystock in an unexpected but certainly not unappreciated, new direction, Brian Ruff showcases the raw desperation of this character. There are hundreds of cheap shots to be made in the vein of this character; Ruff is hyper selective with which ones he takes, making for a richer, more dynamic Max. He’s still somewhat of a deplorable schemer but you get a weirdly humanized version of Max with Ruff’s portrayal and its intriguing, curious, and rather enjoyable. Vocally sound, particularly when deep-griping his way through “The King of Broadway”, Ruff is lending his voice to Mel Brooks’ songs in a way that is both true to the music and lyrics as well as the characterization of the libretto. He’s taking his own spin on Max— and at moments some of those more exacerbating facial expressions read like Jack Nicholson from The Shining! There are some truly ultra-humanized moments in Ruff’s portrayal of Max, like during “The King of Broadway” when he’s listing off his ‘great ideas’ you can see his eyes, pausing and thinking and perhaps realizing that they aren’t so great, rather than just yucking it up for chuckles. And again when he launches into “Along Came Bialy”, you get the sense that there’s a desperate urgency laced with disgust and self-loathing here, rather than just giggles for the situational humor of it all. And if you need to test Ruff’s stamina, he delivers tenfold— complete with nerve-wracking collapse— for “Betrayed.” It’s a total package in a brand-new wrapping and I’m here for it. You should be too.
They’ve got…for the most part…and they’re flaunting it for two weekends! You won’t want to miss what could easily be the show of the season at The State Theatre of Havre de Grace. Get your tickets to The Producers before they take the whole shebang on tour…to SingSing.
The Producers plays from September 6th 2024 through September 15th 2024 at The State Theater of Havre de Grace— 325 St. John Street in historic downtown Havre de Grace, MD. Tickets are available at the door or in advance online.
To read the interview with Max Bialystock, Leo Bloom, and Ulla, click here.
