The Producers
Paramount Theatre, Aurora, IL
Thru March 17
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When I first saw The Producers early in its pre-Broadway Chicago run in February 2001, I was already a fan of the musical theater genre.
Well-indoctrinated as a kid--I saw national tours of A Chorus Line, The Wiz and The Best Little Whorehouse in Texas before I was 10--I resisted a bit in my teens, but made a point of seeing musicals on trips to New York and London in the '90s, as well as The Phantom in the Opera in Chicago.
I often credit a touring production of Cabaret starring Teri Hatcher, which I saw twice in 1999, as the catalyst to a voluminous embrace of musicals--and live theater overall--that has led to my seeing more than 1,200 shows over the past 20 years.
But though I also saw such cornerstone musicals as Les Miserables, Rent, Miss Saigon, Cats, Evita, Fiddler on the Roof, Chicago and Annie Get Your Gun prior to The Producers, it was a life-changer.
Starring Nathan Lane and Matthew Broderick, as well as sensational performers in many roles, it was the funniest show I had ever seen--and I absolutely loved it. (At that point, I had not seen Mel Brooks' 1967 film on which the musical is based.)
So I made a point of seeing it again...that summer on Broadway, after it won 12 Tony Awards.
And in Hollywood, starring Jason Alexander and Martin Short. And London, again with Nathan Lane--who took over for Richard Dreyfuss.
And again and again and again.
Even after The Producers moved beyond its original Broadway production--where I also saw it with Richard Kind and Roger Bart--and tours and renditions based on it, I've made a point of catching regional productions.
Which--after versions by the Marriott Theatre in Lincolnshire, Theatre at the Center in Munster and Mercury Theatre in Chicago and elsewhere--is what brought me to the Paramount Theatre in Aurora, nearly 18 years after my initial live foray.
Yes, I consider myself a Producersologist, somewhat cheekily, somewhat not.
And for those keeping track--that would be me--this was my 15th time seeing the show.
And actually my second time at the glorious venue in Aurora, where I had caught a non-Equity tour of the original production in 2007 that was really quite good.
But for several years now, the Paramount has self-produced its own Broadway series, and most of the productions I've seen there--including Les Miz and West Side Story, two musicals I believe to be technically superior to The Producers--have been quite stellar.
So I wasn't going to see just another rendition of my favorite musical, I truly had high expectations.
And I was not disappointed.
Paramount's artistic director Jim Corti directs the show, and with wonderful work by set designer William Boles, costumer Jordan Ross and choreographer Brenda Didier, the production values are comparable to Broadway, or at least a Broadway tour.
This includes a 21-piece orchestra re-creating the original orchestrations.
Because I know the original show so well, I noticed a few sight gags that were omitted, and though both excellent, the lead actors playing Max Bialystock and Leo Bloom--Blake Hammond and Jake Morrissy--just aren't as distinctively brilliant as Nathan Lane and Matthew Broderick.
But audiences coming to The Producers in Aurora--and the 1,800+ seat venue seemed packed on opening night--without having seen it onstage before will be getting a full caliber experience that should (and seemingly did) delight on par with my initial experience.
Mel Brooks' story about a down on his luck Broadway producer, Bialystock, who with help of nebbishy accountant Bloom aims to stage a show certain to close in order to retain all of the investment money, remains delectable.
The script they find, titled Springtime for Hitler, lends itself to offending everyone, and part of what makes The Producers so great is how daring it is.
Brooks wrote the musical's score--only "Springtime for Hitler" carried over from the film--and it too is terrific.
Part of the glee is in encountering each of the secondary characters, so I'll be somewhat circumspect in my descriptions, but these roles are all sumptuously embodied at the Paramount.
As playwright Franz Liebkind, Ron E. Rains is among the best I recall, and Elyse Collier makes for a striking Ulla, a Swedish actress-slash-receptionist.
In recent years, I've had the repeated pleasure of seeing remarkable performances by Sean Blake--shows 1, 2, 3--and was delighted to find him here in the role of director Roger De Bris. (Sadly I recalled that Gary Beach, who originated the role on Broadway, passed away last year.)
Blake was clearly cast for his considerable talent, but his being an African-American lends itself to a nifty twist in the "Springtime for Hitler" show-within-a-show, one that I'd never seen before.
From the early "King of Broadway," Hammond shows himself to be an excellent Max, and Morrissy--who I understand has been something of a bit player in some recent Paramount productions--handles "We Can Do It" and "I Wanna Be a Producer" with dorky aplomb.
Hammond's Act II blitz through "Betrayed" is also terrific.
I could easily run through the entire show--heck, virtually every lyric--but, as I say, much of the joy comes in the surprise encounters.
Even if you've seen The Producers before.
Though many of the original Broadway set pieces are well-replicated, there isn't a Lincoln Center fountain during "I Wanna Be a Producer"--but I relished the alternate choice.
Similarly, on the Act I finale--set in "Little Old Lady Land"--Corti and crew take a fresh approach, but one that really works.
Sure, the original--under Broadway director Susan Stroman--was the most LOL thing I ever saw onstage. But either you know it, and therefore can appreciate the deviation, or you don't and won't miss it.
Non-subscription, non-discount tickets to The Producers in Aurora seem to run between $38-$69
depending on the performance and seat. This is far less than it cost on Broadway, even 18 years ago, or for prime seats to a touring show in the Loop.
As such, great credit is to be given for the entertainment value it delivers.
No, it isn't the best version I've ever seen, but even with that caveat, it's one I'm quite glad I saw.
If, like presumably many, you haven't seen The Producers live for at least a decade, this makes for a superb reminder of why the show won a record 12 Tony Awards--and still stands as my favorite musical.
And if you've never witnessed this show, what are you waiting for?
The original production is no longer touring and has yet to be revived on Broadway, so the chance to see a rendition this good is really rare.
You may not be inspired to seek it out another 14 times like me, but you should concur that The Producers still makes for comedic musical theater to the absolute Max.
Even after The Producers moved beyond its original Broadway production--where I also saw it with Richard Kind and Roger Bart--and tours and renditions based on it, I've made a point of catching regional productions.
Which--after versions by the Marriott Theatre in Lincolnshire, Theatre at the Center in Munster and Mercury Theatre in Chicago and elsewhere--is what brought me to the Paramount Theatre in Aurora, nearly 18 years after my initial live foray.
Yes, I consider myself a Producersologist, somewhat cheekily, somewhat not.
And for those keeping track--that would be me--this was my 15th time seeing the show.
And actually my second time at the glorious venue in Aurora, where I had caught a non-Equity tour of the original production in 2007 that was really quite good.But for several years now, the Paramount has self-produced its own Broadway series, and most of the productions I've seen there--including Les Miz and West Side Story, two musicals I believe to be technically superior to The Producers--have been quite stellar.
So I wasn't going to see just another rendition of my favorite musical, I truly had high expectations.
And I was not disappointed.
Paramount's artistic director Jim Corti directs the show, and with wonderful work by set designer William Boles, costumer Jordan Ross and choreographer Brenda Didier, the production values are comparable to Broadway, or at least a Broadway tour.
This includes a 21-piece orchestra re-creating the original orchestrations.
Because I know the original show so well, I noticed a few sight gags that were omitted, and though both excellent, the lead actors playing Max Bialystock and Leo Bloom--Blake Hammond and Jake Morrissy--just aren't as distinctively brilliant as Nathan Lane and Matthew Broderick.
But audiences coming to The Producers in Aurora--and the 1,800+ seat venue seemed packed on opening night--without having seen it onstage before will be getting a full caliber experience that should (and seemingly did) delight on par with my initial experience.Mel Brooks' story about a down on his luck Broadway producer, Bialystock, who with help of nebbishy accountant Bloom aims to stage a show certain to close in order to retain all of the investment money, remains delectable.
The script they find, titled Springtime for Hitler, lends itself to offending everyone, and part of what makes The Producers so great is how daring it is.
Brooks wrote the musical's score--only "Springtime for Hitler" carried over from the film--and it too is terrific.
Part of the glee is in encountering each of the secondary characters, so I'll be somewhat circumspect in my descriptions, but these roles are all sumptuously embodied at the Paramount.
As playwright Franz Liebkind, Ron E. Rains is among the best I recall, and Elyse Collier makes for a striking Ulla, a Swedish actress-slash-receptionist.
In recent years, I've had the repeated pleasure of seeing remarkable performances by Sean Blake--shows 1, 2, 3--and was delighted to find him here in the role of director Roger De Bris. (Sadly I recalled that Gary Beach, who originated the role on Broadway, passed away last year.)
Blake was clearly cast for his considerable talent, but his being an African-American lends itself to a nifty twist in the "Springtime for Hitler" show-within-a-show, one that I'd never seen before.From the early "King of Broadway," Hammond shows himself to be an excellent Max, and Morrissy--who I understand has been something of a bit player in some recent Paramount productions--handles "We Can Do It" and "I Wanna Be a Producer" with dorky aplomb.
Hammond's Act II blitz through "Betrayed" is also terrific.
I could easily run through the entire show--heck, virtually every lyric--but, as I say, much of the joy comes in the surprise encounters.
Even if you've seen The Producers before.
Though many of the original Broadway set pieces are well-replicated, there isn't a Lincoln Center fountain during "I Wanna Be a Producer"--but I relished the alternate choice.
Similarly, on the Act I finale--set in "Little Old Lady Land"--Corti and crew take a fresh approach, but one that really works.
Sure, the original--under Broadway director Susan Stroman--was the most LOL thing I ever saw onstage. But either you know it, and therefore can appreciate the deviation, or you don't and won't miss it.
depending on the performance and seat. This is far less than it cost on Broadway, even 18 years ago, or for prime seats to a touring show in the Loop.
As such, great credit is to be given for the entertainment value it delivers.
No, it isn't the best version I've ever seen, but even with that caveat, it's one I'm quite glad I saw.
If, like presumably many, you haven't seen The Producers live for at least a decade, this makes for a superb reminder of why the show won a record 12 Tony Awards--and still stands as my favorite musical.
The original production is no longer touring and has yet to be revived on Broadway, so the chance to see a rendition this good is really rare.
You may not be inspired to seek it out another 14 times like me, but you should concur that The Producers still makes for comedic musical theater to the absolute Max.
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