Wednesday, February 4, 2009
'The Producers' in Long Beach is worth investing in
Musical Theatre West stages Mel Brooks' 2001 musical, which skewers everything that's show biz.
By ERIC MARCHESE
Special to the Register

Had Mel Brooks not musicalized "The Producers," his zany 1968 film comedy, the world would have never known what a superb composer and lyricist he is – "Springtime for Hitler," the film's famous song-within-the-show, aside.

An even more compelling reason for adapting film to stage is that "The Producers" is all about the all-or-nothing, zero-sum world of the Broadway producer – so what better medium for it than the stage?

When surveying the landscape of Southern California theater companies, none is better suited for Brooks' show than Musical Theatre West, which specializes in mounting big-budget versions of musicals suitable for Broadway at its home base, Long Beach's Carpenter Performing Arts Center.

As the first regional production of the 2001 musical (that is, not part of a tour), MTW's staging had better be good if it's to match the production Susan Stroman directed and choreographed for the New York and touring versions.

This superb production is lavish, loaded with laughs and, at its center, a classic "buddy" tale about the friendship between a lifelong show-biz hustler and a quiet little nobody who learns how much fun life can really be.

Credit musical director Daniel Thomas, whose musical direction captures Brooks' off-the-wall spirit. Credit Matthew J. Vargo and his ideal re-creations of Stroman's dance steps. Most of all, though, credit director Steven Glaudini, whose casting and staging pull the comedic, visual and musical elements together into one terrific package.

Brooks' libretto serves up corny, Borscht Belt humor sprinkled with profanity that would have been taboo 40 years ago, while his lyrics exhibit cleverness and wit. The most striking aspect of the show, however, is that it's Brooks' way of skewering the love of his life, show business.

Big-shot Broadway producer Max Bialystock (Michael Kostroff), in fact, might well be Brooks' alter-ego. He has endured several flops in a row and is now so hungry for success, he'll go to no end to debase himself if money is involved.

When meek accountant Leo Bloom (Larry Raben) suggests that a flop might take in bigger profits than a hit, Max is off and running, enlisting Leo in his scheme to put on the biggest flop Broadway ever saw.

Max discovers the perfect candidate: "Springtime for Hitler – A Gay Romp with Adolph and Eva." Soon, he's off to woo his backers – more than 100 little old ladies he tags as "aging nymphomaniacs" who figure prominently in the Act One finale, dancing up a storm while using walkers.

This version of "The Producers" doesn't jell until Max and Leo visit lunatic playwright Franz Liebkind (Nick Santa Maria), then schlocky director Roger DeBris (David Engel). The outré antics of Michael Paternostro as Roger's lover, Carmen Ghia, and Roger's eager entourage of metrosexuals, help kick the show into high gear.

With the arrival of Ulla (Sarah Cornell), the leggy Swedish bombshell with the mile-long name, Brooks' humor just gets nuttier and nuttier. Act Two unfurls a string of highlights such as Leo and Ulla's fling behind the couch in Max's office and the opening night of the play-within-the-play "Springtime for Hitler," with its parade of chorines in outrageous Teutonic costumes designed by William Ivey Long.

Kostroff is as volatile and nutsy as Brooks' screen persona, with the same seediness and broad comedic style. Complementing his comic timing and skill with dialects are his song-and-dance talents.

In his portrayal of the high-strung, neurotic Leo, Raben delivers pathos and a gentle singing style to match. Tall, thin, pale Cornell's Ulla is both carnal and kindhearted, her mangled English endearing both to us and to Leo.

An MTW regular, Engel, as Roger, isn't especially funny until he's thrown into the role of Hitler – an assignment the director adopts with demented glee, revealing Der Führer as a musical theater-loving gay. With his lipstick, lisp, limp wrists and shimmying walk, Paternostro is a scene-stealer, while Santa Maria has a wacky comedic style reminiscent of Brooks regular Kenneth Mars.

The score reveals Brooks as an inventive and versatile composer, containing any number of familiar musical genres, each given a new wrinkle. Glaudini's 16-member chorus is scintillating whether crowding the theater on opening night or executing tap dances in the big finale of "Springtime for Hitler."

Loved that 1968 film? This live musical staging is at least 10 times funnier.

Contact the writer: emarchesewriter@gmail.com