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“The Producers” at the Garrick Theatre

This first major London revival of Mel Brooks’ hit musical is a blast. The story of theatre financiers who stage a flop to make money contains its own critique. The show is both clever and crass. And – like the reviewers of the musical-within-the-musical – I loved it.

The Producers is, genuinely, laugh a minute. Of course, with most of the jokes based on accents, stereotypes and sexual innuendo not all of them land. But if many of the punchlines are so old you can see – or should that be smell? – them coming, that doesn’t stop them from being funny. 

With its Broadway premiere back in 2001, based on a film from the late Sixties, there might be some caution about how the show has aged (especially gags about the casting couch). Not to forget that in-jokes about musical theatre require some knowledge. But the strategy of offending everyone – as an excuse – is tried and tested. 

The sheer quantity of gags is the key. The audience doesn’t get a break or stand a chance. You will laugh – that’s an order.

At full speed from the start, the show is a demanding one for its cast, some of whom did appear a little breathless on the press night. But all the performances are strong and the leads – Andy Nyman and Marc Antolin, as Bialystock and Bloom respectively – are superb. Their physical comedy is top-notch and I lost count of how many silly accents they use. Joanna Woodward stands up to them in fine style as the “Svedish” secretary/star Ulla, while Harry Morrison’s all-out performance as Hitler’s former valet turned playwright is tremendous. Everyone gets the most out of Brooks’ serviceable music and lyrics for the show, always emphasising the comedy.

It is easy to see that the production started in a smaller venue (the excellent Menier Chocolate Factory). While Scott Pask’s set is impressive, in the Garrick it feels a little shrunk and a few laughs might be lost to those in the Gods. But you can enjoy how settled the cast are. Having a long run before the transfer means their teamwork is superb and gives the sense that they’re also enjoying the show.

Springtime for Hitler, the production Bialystock and Bloom hope will bomb, is always going to be the highlight. Lorin Latarro’s choreography comes into its own here and the segment is a hoot. But director Patrick Marber also pays attention to the underlying theme of friendship between the colleagues that simmers in the background and gets some surprisingly moving moments as a result. Nyman and Antolin’s strengths show again. 

Nobody doubts for a moment how silly this whole thing is. But Marber and Brooks know a touch of sentiment in a musical goes down well and they provide it. The show gives us everything. No wonder it’s a hit.

Until 21 February 2025

www.theproducersmusical.com

Photo by Manuel Harlan

2022

“The Book of Mormon” at the Prince of Wales Theatre

Being both outrageous and mainstream is tricky. While there are lots of musicals that challenge an audience, few have had the success of this show from Trey Parker, Robert Lopez and Matt Stone. But after the hype, and coming up to a decade playing in London, is The Book of Mormon still risqué?

Never fear, a show about religion, with jokes about Aids, still has the potential to offend… if that is what you want. The representation of Africa, where the Mormon missionaries we follow end up, wants to be controversial. And the show is aggressively sceptical about faith. The cynicism has always struck me as contrived. And the humour is puerile, no matter how clever its creators. But embrace the tastelessness and you’ll love it.

Even if the crudity is too much for you, it’s well done – a cartoonish design from Scott Pask, perfect for tableaux explaining Mormonism, is indicative of the strong production. Yes, even the set gets laughs.

Casey Nicholaw’s direction and choreography are action packed – the show doesn’t settle for a second. The performances are full of energy, too. If the characters that we come to know are few (and caricatured), they are depicted well. With the two male leads, Dom Simpson’s strong voice is complemented by Tom Xander’s comedy skills. Steven Webb’s smaller role as Elder McKinley proves a crowd pleaser. And. although the role of Nabulungi is particularly unforgiving – it’s downright odd, nowadays, to see a female lead so passive – Leanne Robinson does a great job.

The performers and Nicholaw appreciate how the songs drive narrative in a traditional manner. This is one of many smart moves from Parker, Lopez and Stone, and the score has gently grown on me as a result.

Gentle is an odd word for a show that that revels in offending. The Book of Mormon takes a harsh look at faith and human nature: attempts to do good don’t work out. The pastiche soundtrack comments on this – that’s the joke, of course – but the songs also add balance and… warmth. Mimicking big musical numbers – both peppy and inspirational – gets laughs. But the tunes are still perky and moving. There’s the question of atmosphere, too, as the show has many return fans. Being in a room where people know the jokes takes some sting from a punchline, but it’s also a boon. Time for another surprising word – The Book of Mormon turns out to be a charmer.

www.thebookofmormonmusical.com

Photo by Johan Persson