Indy Theatre Habit

Last Sunday I went to see “The Producers: the New Mel Brooks Musical” at the Beef and Boards Dinner Theatre.  Marc Robin recreated at B&B the original direction and choreography by Susan Stroman.  The book is by Mel Brooks and Thomas Meehan.  The music and lyrics are by Mel Brooks.

“The Producers” is primarily about two men - a famous producer, Max Bialystock (Douglas E. Stark), and a producer wanna-be, Leo Bloom (Eddie Curry) - that hardly know each other but who hatch a scheme to make a fortune by putting on a Broadway show that is guaranteed to flop.  In the process, they become friends.

So if Stark and Curry are the co-stars, why, out of the wealth of interesting photos that I received in my press kit, did I choose the photo of “Beer,” played by Karen Webb, to be the one photo that accompanies my review? 

Because that one photo sums up this musical perfectly:  it is outrageous and sexy and funny, with costumes and dancers worthy (I imagine) of a Ziegfeld show.

Mind you, one young couple sitting near me got up and left in the middle of Act One.  Maybe they had been expecting another wholesome “Smoke on the Mountain Homecoming.”  ”The Producers” is a completely different musical: it is filled with breezy political incorrectness and playful sexual references, both gay and straight.  B&B Media Relations person Patricia Rettig told me that last year after the first “Smoke on the Mountain” show, the next show was “The Best Little Whorehouse in Texas.”  I guess it is becoming a sort of tradition for B&B to follow their most wholesome show of the season with their most naughty one.

In any case, most of the people sitting near me stayed to the end and were grinning as they left.

I stayed and laughed a lot, too.

I was also relieved that this intimate, live production is much, much more engaging than the tedious 2005 movie starring Matthew Broderick and Nathan Lane that I had borrowed on DVD from my public library.  I bet Broderick’s and Lane’s live show was better than their movie, too.  That Broadway show won more Tony Awards than any other musical in Broadway history.  Some day I’d like to see the original 1968 Mel Brooks movie on which the Mel Brooks musical is based.

In the meantime, B&B is the first theatre in the state of Indiana to present this show as an independent production.  It is a treat, no matter how you look at it.

Stark and Curry work together in real life, too, as B&B’s artistic director and producer/casting director, respectively.   The warmth of their working relationship informs their on-stage relationship.  I enjoyed watching Max and Leo’s friendship develop.  The two men are also hilarious, together and separately.

Stark is a huggy-bear of a man.  I completely believed that the lovable rascal, Max Bialystock, who talks to God like he knows Him, has a posse of little old ladies (including “Hold Me Touch Me,” played with zest by Morgan Rose) wanting him to service them sexually in exchange for their financial sponsorship of his shows.  I wouldn’t mind writing him a check myself.

Curry gives Bloom an appealing fussiness that is impressively both broadly physical and specific.  He leaps effortlessly up on tables, for example, or sprawls on the floor, but the little things he does with his blue blanky…I am laughing out loud again, remembering all of it.

It is fun to hear them both sing, too.

In fact, it is fun to hear everyone in this show sing.  The voices are lovely and powerful, but also the sound design, by Daniel Hesselbrock, is crystal clear and effective.  You don’t appreciate a good sound designer and a good sound system unless you have been to several shows where the sound system was not working very well.  The sound at B&B is just right, so you can relax and fully enjoy the beautiful voices.  Bliss.

Elizabeth Broadhurst plays Ulla, the Su-vee-dish dish who comes in to audition for Max and Leo’s show.  She sings, she dances, she belts….and shows a lot of leg.  The two men hire her to be their receptionist until rehearsals start (and until they actually find a play to do.)   Broadhurst flirts like a master.

The two men finally find what they think must be the worst, most offensive play ever written, so they go to its author to ask his permission to produce it.  Jeff Stockberger as Franz Liebkind is a crazy explosion of Nazi fervor mixed with gooey affection for his pigeons.  Stockberger’s comic intensity left me breathless with laughter as it always does, no matter what role he is playing.

(The program doesn’t say who is responsible for the pigeon puppets dancing in their cages - maybe scenic designer Michael Layton? But then who manipulates them?  In any case, they and Stockberger are a hoot together.)

Now the two producers need a director and a design team.  Who is the worst director they know?  Roger DeBris, played by Curt Dale Clark.  Clark was the gallant, clean-cut hero in “Oklahoma” at B&B last year (pre-blog.)  I swooned when he came out in a tux on Sunday night to give the curtain talk.  I could hardly believe my eyes when he appeared wearing a gown in “The Producers.”  However, he is impeccable as the showy, emotional DeBris.

His assistant, Carmen Ghia (Sean Blake), is even more of a drama queen.  Ghia’s prissy, pouty mannerisms include “s”es that last for days.  Together, Ghia and DeBris make a giggly, and giggle-producing, pair of artistes.  They made me want to be in on their tickle-finger communication.

The Ensemble includes talented, beautiful, and very physically fit men and women who sing and dance as everything from accountant slaves to, as I mentioned before, Ziegfeld-esque showgirls, all while changing costumes every two seconds.  Teresa Deihl, Hallie Metcalf, Sally Mitchell, Melissa Schott, Courtney Tilford, and Karen Webb are the female Ensemble members.  Doug King, Peter Scharbrough, Karlton D. Turner, and J. Tyler Whitmer are the male Ensemble members.  Morgan Rose and Doug King are the dance captains.

Peter Scharbrough is also the Tenor who introduces Hitler in the show-within-the-show.  His rich voice made me melt, even as I was laughing at the show.

J. R. Stuart plays Mr. Marks, a real meanie of a boss at Leo’s accounting firm.  He also plays the Judge at the end.

The 100+ costumes were designed by Brian Horton.  According to my press kit, Horton plus three full-time costumers and seven part-time stitchers have been working on the costumes for this show since mid-May.  I hope they all get therapeutic massages as part of their benefits package, having to hunch over their sewing machines all that time.  But selfishly, I am glad that they worked so hard.  The costumes for this show are just one visual pleasure after another.

The set, designed and lit by Michael Layton, is a visual pleasure, too.   Glossy red, gold, white, and black skyscrapers and dazzling, Broadway-style running lights (there is a better name for them but right now I can’t think what it is!) border a versatile space that changes from outside a Broadway theatre, to inside Max’s office, to up on Franz’ roof, and more.  

Ed Stockman & Elizabeth Stark are the stage managers.  Bill Mollencupp is the technical director.  (Maybe one of them staffed the pigeon puppets?)  From where I was sitting, everything technical in the show seemed to go very smoothly, from set changes to sound effects.  I especially loved the “I feel pretty” doorbell in DeBris’ home.

Musical direction is by Kristy Templet.  She and her orchestra play up on the little balcony to the audience’s left of the stage, as usual, and sound balanced and friendly, as usual.  Templet is the conductor.  She also plays keyboard along with Terry Woods.  Ernie Coleson is on woodwinds.  David Coleson is on trumpet.  Tim Kelly is on percussion.

My server this time was Brittany.  As the wait staff always is at Beef and Boards, Brittany was just right: warm and welcoming but unobtrusive.   The consistent excellence of the service at B&B makes me wonder who trains everyone.  Hats off to him or her, too.

Chef Odell Ward’s dinner buffet this time includes yummy little potato pancakes and something even yummier called kielbasa and sauerkraut.  But don’t worry, there is also the usual roast beef and baked fish and salad bar and so on.  Lemonade and coffee come with the meal.  Soda pop and alcoholic drinks are extra, as is dessert, but it is worth the extra five bucks or whatever to know that something decadent is coming to your table at intermission.

“The Producers” runs at the Beef and Boards Dinner Theatre through September 28, 2008.  Please call the Box Office at 317-872-9664 to make a reservation.  It is open between 10 a.m. and 7 p.m. daily.

Hope Baugh – www.IndyTheatreHabit.com