2000s farce in full-force in 'The Producers'

By Noah Moore

For better or for worse, musical theatre doesn't exist in a vacuum--as much as you go to a show to escape reality, it still exists outside those walls. As such, it's even harder for a musical to not age like milk. One such exemption is The Producers, which features farce of about every kind, reminiscent of the early 2000s when the need for laughs was almost as dire as it is now. The show is not without controversy, but the performers of Lancaster Opera House's production ham up just about everything so much that it feels right--stay with me, now.

Max (David Bondrow), Franz (Steve Copps), and Leo (John Kaczorowski) dance to secure Franz's rights to his play.

The Producers is a 2001 Tony-winning musical about two scheming producers, Max Bialystock and Leo Bloom, who aim to get rich by overselling shares in a Broadway show they conceive to be a flop. What better title than"Springtime for Hitler?" When the show becomes a surprise hit, it sparks chaos and money-lending issues, to say the least. Through catchy tunes and comedic antics, the show satirizes showbiz, greed, and the absurdities of life. It's a riotous journey of unlikely success and unintended consequences, if the dancing Nazi musical doesn't deter you (I would understand).

Max's (David Bondrow) first show, Funny Boy, officially opens on Broadway.

Leading this hilarious troupe as producers Max Bialystock and Leo Bloom, David Bandrow and John Kaczorowksi respectively chewed the scenery. Kaczorowksi's Bloom provided the anxiety matched well with Bandrow's all-knowing character, creating some hilarious sequences. Also, Kelly Copps as Ulla had a star-making turn, nailing the ingenue naïveté with excessive talent.

This production, directed by Eric Deeb Weaver, at first seemed stripped back, but slowly layers in moving set pieces and clever usage of the space. Costume designer Timmy Goodman's designs, most notably during the musical-within-the-musical are hilariously chic, with pretzels draped from hips and table settings extending from the waist. Though the scenic design was mainly projection screens, the displays by Rick Frendt were dazzling and advanced, seamlessly flying around the theatre and other locales with entertaining transitions. This may be the first time I was truly happy with a reliance on projections for a set.

Ulla, played by Kelly Copps, hits the splits in a bid to be Max and Leo's secretary.

Mel Brooks, oft-noted as one of the best comedy writers, and his ridiculous musical satirize just about every group--the gay producer, Carmen Ghia, played by Matt Rittler, had the show's most hilarious moment for me...must be a gay thing! All in all, this show proved just why this show has endured so many years despite its subject material. Spoof and talent effervesced well into this production.

Check out more about Lancaster Opera House here!