The Producers

Down-on-his-luck Broadway producer Max Bialystock and timid accountant Leo Bloom scheme to get rich by overselling interests in a musical designed to fail, "Springtime for Hitler," to create the biggest flop in history. However, their plan backfires when high-brow audiences mistake the offensive show for a brilliant satire, turning it into a smash hit. The show follows the duo as they deal with the unexpected success, a vengeful playwright, and the consequences of their con, eventually leading to their imprisonment and a new, successful show from behind bars.

Patrick Marber’s direction keeps the show moving with a mostly sharp and consistent touch—clever in many moments, though every now and then the pacing hit the brakes harder than Leo Bloom in a panic attack. A couple of choices clashed tonally, but overall it kept the energy buoyant. Lorin Latarro’s choreography follows a similar pattern: dazzling and purposeful for much of the night, with some sequences that seemed to miss their step. When it landed, it really landed; when it didn’t, it left me scratching my head.

Scott Pask’s set design is one of the evening’s triumphs—ingenious, playful, and resourceful. The static elements, paired with clever use of cloths and multi-functional props, told the story beautifully without ever feeling overdone. It’s subtle but extremely effective stagecraft. Paul Farnsworth’s costumes did their job nicely, leaning into “outrageous when necessary” without tipping into parody overload. They’re not revolutionary, but they fit the world of The Producers perfectly well.

Tim Lutkin’s lighting design shines (pun absolutely intended). I especially loved the glitterball moments and the delicate detail in the jail scene. The interplay of spotlights in the act two entr’acte was also a visual treat. Sound by Paul Groothuis was a bit uneven: sometimes the music overpowered the performers, leaving the balance slightly muddled. Not a deal-breaker, but it occasionally distracted from the performances.

The book by Mel Brooks & Thomas Meehan remains as inappropriate as ever, but just below average. Not every joke landed this time around. A few gags were met with polite silence rather than belly laughs. The score, similarly, is a mixed bag—most songs drive the story with infectious energy, but a couple feel like filler rather than storytelling gold. It feels like the show has great potential, but there was just something that didn't click.

On the performance front: Andy Nyman (Max Bialystock) and Marc Antolin (Leo Bloom) make a brilliant duo, bouncing off each other with genuine chemistry. That said, both characters could benefit from just a touch more depth beneath the comedy. Trevor Ashley (Roger de Bris) and Raj Ghatak (Carmen Ghia) offer plenty of camp fun, though their portrayals sometimes felt a little too broad. Joanna Woodward (Ulla) was radiant—her voice, charisma, and charm had the audience in the palm of her hand. But the undisputed scene-stealer was Harry Morrison (Franz Liebkind), who delivered comedy perfection every time he appeared. He played the absurdity to the hilt and absolutely stole the show.

This was a smartly staged, often hilarious production with standout performances and some inspired design choices. Not every joke lands, and a few moments wobble in pacing, but overall it’s a joyfully bonkers night at the theatre.

The Producers runs at the Garrick Theatre until 21st February. Book your tickets here: https://ticketing.nimaxtheatres.com/tickets/series/GATPR01M