The Hills Musical Company. Stirling Community Theatre. 27 Apr 2013
Mel Brooks’ The producers is a satirical spoof which gives a nod to old Broadway, and does so without compromise or care for many of history’s most famously marginalised and repressed cultures – namely the Jewish community. The show revolves around a kooky idea cooked up by a failing Broadway producer, Max Bialystock, and his nerdy, anxious accountant and unlikely friend, Leo Bloom. They plan to fundraise for a Broadway show that is guaranteed to be a flop and then keep the proceeds. Their guaranteed failure is a show written by a neo-Nazi, Franz Liebkind, called 'Springtime for Hitler'.
The Producers parodies many other famous Broadway musicals and is entirely predictable in true Mel Brooks’ style. With one-liners coming thick and fast, and over-the-top characterisations abundant, a deft directorial hand is required to keep it all in check. Unfortunately for director, Steve Rudd, this one seems to have gotten away from him. Whilst the energy is extremely high throughout the show, its relentlessness is both taxing and tiring, and Rudd has failed to find the levels and nuances in this laugh-a-minute script. All of the characters hit the stage at 110% and leave themselves with nowhere else to go. The already long show is uncomfortably full on and by the end of the production you are really feeling the 3+ hours.
Jamie Richards plays the lead role Max Bialystock. Vocally he is the perfect choice for the character. His husky New York accent is reminiscent of Brooks' film and his energy is always wonderful. Like many of the cast, however, there were no breaks, no rests, from the always on, always manic characterisations which built this show up. As his co-producer and anxious accountant Bloom, Omkar Nagesh was suitably nervous and right at home with his awkward mannerisms and slightly nerdy persona. Nagesh found more of the peaks and troughs in his character; there is still room for more contrast between the shy, quiet Bloom and his panic attacks, however. Both sang solidly.
As the lederhosen wearing neo-Nazi Liebkind, Paul Briske delivers a wonderful characterisation. His is about the most balanced in terms of light and shade, and with such a key parody to embody his Liebkind was just silly enough to be funny without going overboard.
Springtime for Hitler must have a director, and for this role Bialystock and Bloom choose the worst director in town, Roger DeBris. Played deftly by Eden Plaisted, the characters egotistical and camp qualities were well executed. As his assistant, Carmen Ghia, Adam Harrison also gave a solid characterisation, although having said that the two would have struggled to be any gayer than they played it. It suited the show in any case.
Choreographer, Shenayde Wilkinson-Sarti played the role of the gorgeous, voluptuous and sultry, Ulla. Wilkinson-Sarti was all of those things and more and created a wonderful character. Her choreography, designed with the assistance of Rosanna Commisso, wasn't ground breaking, but was easily managed by the varied ensemble.
On the whole, the singing was adequate throughout the show - however a special mention must be given to ensemble singer and bit-part player, Ellis Dolan who had a few solo moments where he was able to stun the audience with his deep, smooth vocals. The ensemble work was also quite good and was a welcome break from the face reddening exuberance of the principle characters.
Set design was also a bit of a letdown. The busy sets added very little to the overall look of the show and were clunky and distracting to strike. The scenic art was very basic and consisted of many 80s style painted flats that looked a bit tacky and were perhaps unnecessary in the pursuit of the comedy.
Musical director, Tammy Papps commanded a solid orchestra and the overall sound balance was excellent. Costumes by Renee Brice and Elizabeth Graham were suitable but ill-fitting on many of the characters.
Unfortunately, despite the hilarity written into Brooks' script, it isn't simply enough to load the stage with energy and colour and deliver the lines. There are a few solid performances but overall this wasn't one of the Hills' finest moments.
Paul Rodda
When: 26 Apr to 11 May
Where: Stirling Community Theatre
Bookings: hillsmusical.org.au
