YOU GOTTA HAVE A SHTICK!

THE PRODUCERS - at the Stanley REVIEWED **** 1/2
Tuesday, May 28, 2008
THE PRODUCERS –An Arts Club Theatre Company Production of a New Mel Brooks Musical at the Stanley – Vancouver **** ½

While I live by a strictly no-regret rule, I did kind of feel at a loss when I finally convinced myself to go and check out THE PRODUCERS on Broadway. Alas, the week it ended, six years into its mega-successful run, I missed my opportunity. This was an obviously way-too-last-minute decision [after so many chances] that I only made once I caught the hysterically funny if only so-so successful film - in New York on opening day, of all places & time – realizing that I’ve been a fool all along to dismiss Mel Brooks. Especially after loving his borscht belt humour as a child, I was way too embarrassed to admit this as an adult [sort of like being a fan of Cher’s before MASK]. It did not help matters that I was neither a lover of Nathan Lane nor – especially - Matthew Broderick, who, together, purportedly led the assault of off-the-cuff Jewish humour on its live audiences nightly [a smart sleight of hand considering how intricately written THE PRODUCERS is]. For a very long time, I felt that I wouldn’t stand for this.

Having initially lost out, after my long-awaited change of heart, I was lucky when the ever-reliable & strictly professional Arts Club Theatre Company decided to mount the pastiche comedy musical as their final show of the season. Coinciding with my time off in Vancouver, I bought front row centre seats for last night’s performance and could not have been more pleased with my smart decision.

Funny enough, smart is not exactly an adjective one would normally associate with Mel Brooks’ silly, bathroom wall humour but THE PRODUCERS is actually, surprisingly, a very smartly written and loving tribute to yesterday’s Broadway. Give credit to Brooks who mostly alone reworked an old film concept of his to goofy perfection. The melodic songs complement the witty script and the affectionate silliness is fondly rendered as a love letter to big, old fashioned musicals.

To be honest, even though not a fan, I was impressed with Lane’s manic performance and thought he deserved some recognition and maybe even an Oscar nomination. While I enjoyed Broderick’s song and dance routine, his acting did not (has never, in fact) impress(ed) me. As for the others, the zany co-stars: Uma Thurman, while talented & physically perfect, was completely wrong for the role. She lacked the delivery of a punchline. Will Farrell was funny enough and amusing to watch as a bird-talking neo-Nazi. But it was Gary Beach as egoistic, fey cross-dressing director Roger DeBris and Roger Bart, as his overly protective, distrusting & sassy (think many esssesss) common-law personal assistant Carmen Ghia that stole the movie and apparently the show in the Great White Way.

Hard to beat such credentials so, thankfully, an standing ovation must go to everyone in this impressive local production that has successfully managed to pull the unthinkable and not only not turn this big tuneful event into a sham by comparison but actually create a gold mine out of what turns out ot be an evening of pure joy. Believe it or not, there’s a hardly a ticket left for this show that will be running until mid-July. And deservedly so.

Big, even by the company’s own standards, and in an intimate setting, brash and unabashedly crass, the musical retains all of its appeal even in the hands of lesser marquee names, all filled with unquestionable talent. In fact, Jay Brazeau as Max Bialystock and Josh Epstein as Leo Bloom both shine in their own rights as the scheming duo at the centre of this escapade.

Brazeau has a lot more in common with Zero Mostel than Nathan Lane and from the very start plays his lovable shyster to the hilt. His BETRAYED number would have been a standout had he not been that good to begin with. Keeping in step is Epstein who – for me, at least – smoothly improves on Broderick’s performance while still very much imitating his shtick. A wonderful singer and dancer, as well as actor, Epstein brings dimensions to the role with his magnetic appeal & personality.

A charming Terra C. MacLeod does an entirely different take on Swedish secretary slash receptionist Ulla than Thurman did in the film. I imagine that Macleod’s rendering is precisely as written for the stage. Her dance moves are silky smooth and her singing - even belting, in her big number – is proficient. She may seem physically a tad too old for the role but with a killer body and a cheery smile she’s got the audience under control.

With outstanding contribution from all, the casting is top-notch. The six-piece orchestra is unobtrusive and, in fact, terrific, often sounding very symphonic. Add to this creative choreography from Valerie Easton, adapting to and working around a smaller stage and cast than Broadway can ever allow. The set designs are wonderful as well and imaginatively conceived, with little to no compromise.

In all, with a cast of twenty talented Canadians of varying pedigree and sterling direction from Bill Millerd, the Arts Club has proven once again [coming off strongly after GYPSY and FUNNY GIRL] that they can take matters – big and small – into their own hands and, regardless, take home the prize for contagiously winning, seamlessly professional entertainment formula that everyone can appreciate at no matter the size of venue or cast. Now that is impressive in itself.