The Producers by Mel Brooks and Thomas Meehan

The posters and program proclaimed ‘A New Mel Brooks Musical’ but it wasn’t Young Frankenstein, it was a splendid production of the 2001 Broadway blockbuster The Producers. Never quite shaking off the blissfully manic 1968 Zero Mostel/Gene Wilder movie from which it was derived, Brooks’ brassy-farcey musical nevertheless won 12 Tonys and ran for years.

It’s a long, action-packed and demanding showbiz show, requiring lashings of sets, costumes, performers, musicians and production staff. The glossy program lists over 300 credits, all marshalled to crowd-pleasing delight by long-time GMS performer/director Darryl Davis.

Steeped in lusty burlesque vulgarity, the show requires let-it-rip commitment from its lead performers. Chris King gives non-stop energy to seedy producer Max Bialystock searching for the worst musical ever written. Zach Smith, as his ever-panicking young accountant Leo Bloom, adds a sweet singing voice to his physical comedy.

Jess Hind as Swedish blond bombshell Ulla is not only suitably tall and gorgeous but sings and highkicks a storm. Adam Young is gloriously ridiculous as the Hitler-loving, pigeon-fancying Franz. But Christopher Hamilton takes top honours as camply elegant Roger de Bris, the narcissistic director who grabs the leading role in show-within-a-show Springtime For Hitler. His easy, stylish, hilarious rendition of ‘Heil Myself!’ is the evening’s highpoint and it’s hard to believe that Hamilton could anywhere be bettered in the role.

Costumes and sets are excellent, though the many front cloth moments slowed things down unnecessarily. But, though it was well over the three-hour mark, the audience were clearly unhappy to hear the cheeky final song (“We’re glad you came but we have to shout... Goodbye, get lost, get out!”)

Frank Hatherley