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| Ulla (Renee Deweese Moran) dances for Max (Edward Hightower, left) and Leo (James M. Jones). |
When Mel Brooks wrote the book (with Thomas Meehan),
music and lyrics for a musical about a musical that was supposed to be a flop
but turned out to be a hit, he created his own hit with “The Producers.” The
stage version is based on the 1968 film of the same name.
Hillbarn Theatre & Conservatory is staging its
own hit thanks go sharp direction and a talented cast and design team. All of
these elements add up to laughter and enjoyment.
As the show opens, once-successful Broadway producer,
the brash Max Bialystock (Edward Hightower) has just seen his latest show,
“Funny Boy,” close after its opening night.
Shortly thereafter, a mousey accountant, Leo Bloom
(James M. Jones), shows up to go over Max’s financial records. When he sees
that $2,000 is still in the account, he comments that Max could make more money
with a flop than a hit.
Max latches onto this comment and decides that he
wants to produce a flop by finding the worst play, worst director, worst
designers and worst actors for it. After some persuasion, Leo joins him as
co-producer.
This leads them to “Springtime for Hitler,” a play
by Hitler admirer Franz Liebkind (the versatile Keith Pinto), who forces them
to meet several conditions before allowing them to produce it. These conditions
include a silly dance and an oath swearing allegiance to Der Führer. Franz also
keeps a collection of wing-flapping pigeons with Nazi insignia.
Once rights to the play are secured, Max and Leo
prevail upon their worst director, Roger DeBris (John Mannion). He greets them
wearing a glittering gown topped by a tall tiara. He looks like the Chrysler
Building, one of the men says.
His sidekick is the tres gay Carmen Ghia (Jesse
Cortez). His chosen designers also are quite gay. They decide that it’s
important for the show’s success to “Keep It Gay.”
One other person who shows up in their orbit is a
gorgeous blond Swedish woman, Ulla (Renee Deweese Moran), who celebrates her
sexiness (“When You’ve Got It, Flaunt it”) and leaves both Leo and Max
salivating.
Max then sets about raising money for the show via
his usual route: romancing elderly women who like to play risqué games in
return for giving him money.
Quite unexpectedly, “Springtime for Hitler” turns
out to be a huge hit. The two producers’ financial manipulations lead to big
trouble with the law, but of course there’s a happy ending.
Given the subject matter of “The Producers,” there’s
a fine line between bawdy shtick and bad taste in the hilarious lines and
situations. Director Erica Wyman-Abrahamson and her well-chosen actors stay on
the right side of that line.
Recorded music provides instrumental accompaniment
for the singing, which is overseen by music director Rick Reynolds.
Dancing is a huge part of the show’s enjoyment,
thanks to choreography by Christopher Childers. Just one example is “Along Came
Bialy,” in which several of Max’s women friends dance with their walkers.
Credit for the ingenious costumes goes to Y. Sharon
Peng. Scenic designer Kevin Davies keeps the show moving along despite the
numerous scene changes and Hillbarn’s smallish stage. The lighting is by Pamila
Gray with sound by Sheraj Ragoobeer.
The 20-member cast is likable, performing the
acting, singing and dancing with ease. Those in the ensemble create a variety
of characters.
Running about two and a half hours with one
intermission, “The Producers” will continue through May 14 at Hillbarn Theatre,
1285 E. Hillsdale Blvd., Foster City.
For tickets and information, call (650) 349-6411,
Ext. 2, or visit www.hilbarntheatre.org.
Photo by Tracy Martin
