The Producers – Royal Exchange Theatre, Manchester

Stuart Neal and Julius D’Silva in The Producers at the Royal Exchange Theatre. Manchester. Picture: Johan Persson

The Producers continues at the Royal Exchange Theatre, Manchester until 26 January 2019.

Star rating: four stars ★ ★ ★ ★ ✩

Mel Brooks’ 2001 musical adaptation of his own 1960s stage play The Producers stands up remarkably well to modern scrutiny in this highly polished revival directed by Raz Shaw.

The stereotypes from which it draws much of its humour could easily feel awkward for a contemporary audience, but the style of this production succeeds in sweeping aside any sniff of offence in its tidal wave of 50s kitsch and glamour. Save for a few small anachronisms, Ben Stones’ designs root the piece firmly in period, with the action taking place on a revolving, polished marble-effect floor.

The ludicrous campness of Charles Brunton and Hammed Animashaun as the washed-up director Roger De Bris and his ‘common law assistant’ Carmen Ghia is so exaggerated that it becomes genuinely funny caricature. Dale Meeks is a quite maniacal Franz Liebkind, author of the unfortunate smash hit musical that the plot depends upon, and the scene where we first meet him in his pigeon loft is really wittily imagined.

Central to the work, of course, is the partnership of Max Bialystock and Leo Bloom, and Julius D’Silva and Stuart Neal have a great onstage chemistry here. Both are in good voice and they wear these familiar parts as though they were tailored for them. D’Silva descends joyfully into craziness while Neal’s desperation and his timing with the slapstick comedy is immaculate. Their casting-couch relationship with Ulla certainly speaks of its time and offers us an opportunity to reflect on how little may have changed, whilst still managing to laugh along with its ridiculousness.

Ulla herself is played with knowing charm by Emily-Mae, and her portrayal of the Swedish actress-turned-secretary is absolutely on the mark.

The revolving stage offers some dynamic choices for choreography, especially in the big production numbers, and very slick scenery movement keeps things rattling along. The transformations from the accountants’ offices to a Broadway dream-world and back in Leo Bloom’s ‘I Want to Be a Producer’ are pure magic, as is the presentation of ‘Springtime for Hitler’, the frighteningly funny car-crash of a routine around which the whole crazy plot revolves.

There’s a very strong supporting ensemble of artists who transform themselves through age and gender numerous times to bring us everything from office workers to a chorus line and a band of tap dancing old ladies with walking frames. The costume and make-up departments must be stretched to their limits.

The excellent vocal performances are matched by a fine nine-piece band under the musical direction of Jo Cichonska, with orchestrations by Chris Walker. This is a glossy and immensely entertaining production that reaffirms the quality of the writing.

Nigel Smith