Don’t Miss Theatre Three’s Stellar Production of “The Producers”
By Cindi Sansone-Braff
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Photo Credit: Courtney Gilmore, Theatre Three (Photo Courtney Gilmore, Theatre Three)There is no denying that Mel Brooks is the master craftsman of “Rolling in the Aisles,” zany, unadulterated comedy. Twenty-three years after his Broadway smash hit “The Producers” won a record-breaking 12 Tony Awards, including Best Musical, this ingenious satire continues to mesmerize audiences with its wacky, wisecracking, wonderful, and often wicked sense of humor.
Based on Brook’s 1968 black comedy, “The Producers,” this beloved musical farce tells the tale of a down-and-out, shady Broadway​ producer, his nerdy accountant, and their harebrained get-rich-quick scheme. Brooks’s fingerprints are all over this show since he wrote the music and lyrics, and with Thomas Meehan, Brooke also wrote the book. This riotously funny show is vaudeville, Borscht Belt, slapstick, camp, and pure schtick all rolled into one smorgasbord of something is not kosher-around-here kind of funny!
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Scott Hofer, Brittany Lacey, Tony Butera (Photo Credit: Courtney Gilmore, Theatre Three)Under Jeffrey Sanzel’s masterful direction, the entire cast gave standout performances in every scene of the show. Sanzel had the actors play the funny bits with expert comedic timing to generate plenty of belly laughs, but he also inspired the cast to be committed to the comedic circumstances of the musical; therefore, they played their parts with theatrical truth.
Max Bialystock, once a revered Broadway producer, is now the laughingstock of 42nd Street. He sings of his woebegone ways in “King of Old Broadway,” which parallels the song “Another Op’nin’, Another Show” from the musical “Kiss Me Kate.” This scene also played like a parody of “Fiddler on the Roof,” complete with a blind violinist! Scott Hoffer makes a most captivating Max, and he displayed his stellar vocals and expert comedic skills as he belted out the acerbic lyrics from this showstopping number.
Tony Butera gave an award-worthy performance as Leo Bloom, the mild-mannered Broadway-struck accountant. And yes, this character does have the same name as the protagonist in James Joyce’s modernist novel “Ulysses,” because Brooks “stole” it! Throughout the show, Brook’s awe-inspiring lyrics and dialogue reference other famous writers, such as Strindberg, O’Neill, Shakespeare, Dostoevsky, and Ibsen.
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Evan Teich, Ryan Nolin, Jim Sluder, Tony Butera (Photo Credit: Courtney Gilmore, Theatre Three)When Leo casually mentions how, with some creative accounting, it could prove more lucrative to produce a Broadway bomb than a hit, that thought gets the greedy wheels of Max’s brain spinning. The two devise a plan to produce a colossal flop and skip town with the backer’s money when it closes after just one performance. Comedic complications ensue when their show, “Springtime for Hitler,” becomes a smash hit!
Butera got to showcase his strong vocals and dance moves during “I Wanna Be a Producer.” The fabulous lighting effects, glitzy costumes, and the precision-perfect tap dance routine, choreographed by the talented Josie McSwane, all came together to make this a standout number.
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(Photo Credit: Courtney Gilmore, Theatre Three Photo : Courtney Gilmore, Theatre ThreeAnother great onstage moment occurs during the bromance song “’ Til Him,” when Max and Leo profess their loyalty and love for each other with the help of the talented Little Old Ladies as backup singers. Butera and Hoffer have the kind of magical onstage chemistry that made other comedy duos like Abbot and Costello, Laurel and Hardy, and Jack Lemmon and Walter Matthau so popular.
Brittany Lacey delivered a riveting performance as Ulla, the Swedish siren who steals Leo’s heart. Ultimately, Lacey steals the show with her sizzling rendition of “When You’ve Got It, Flaunt It.” Lacey can sing, dance, and act, but more than that, she has that extra, indefinable something that makes someone a star.
Evan Teich’s spot-on portrayal of Franz Liebkind, a German immigrant, crazed Nazi fanatic, and author of “Springtime for Hitler,” brought the house down. Teich is a natural-born comedian, and his hilarious rendition of “In Old Bavaria,” complete with a chorus of pigeons, was a showstopper. However, one of the funniest numbers in the show was “Der Guten Tag Hop-Clop,” with Leo and Max hopping, clopping, and flashing the bird as they reluctantly joined in the “Nazi Hoedown.”
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Ryan Nolin and Scott Hofer (Photo: Courtney Gilmore, Theatre Three)Ryan Nolin’s depiction of Roger De Bris, the flamboyant gay director of “Springtime for Hitler,” had the audience in stitches when he entered wearing Ronald Green III’s outrageous costume design. De Bris was costumed to look like the Grand Duchess Anastasia, but De Bris whined that he looked like the Chrysler Building. Nolin’s hilariously campy depiction of Hitler was one of the show’s highlights. Another high point in the show was watching Debris and his charming sidekick, Carmen, convincingly played by the talented Jim Sluder, singing and dancing up a storm.
A big shoutout goes to the stellar ensemble who expertly portrayed a parade of characters: Jason Allyn, Sean Amato, Brian Frank, Will Logan, Liam Marsigliano, Edward Martinez, Ryan Van Nostrand, Melanie Acampora, Louisa Bikowski, Maryne Conner, Rachel Geiser, Rachel Greenblatt, Kaitlyn Jehle, Michelle LaBozzetta, Linda May, Cassidy Rose O’Brien, Isabella Scarpa, and Jillian Sharpe.
This parody spoofs just about everyone and everything, and there is undoubtedly something to offend everyone, so get your tickets and be prepared to be triggered in a way that tickles your funny bone!
The show runs through June 22, 2024. To purchase tickets or for additional information, please visit www.Theatrethree.com or call the Box Office at 631-928-9100.
Cindi Sansone-Braff is an award-winning playwright. She has a BFA in Theatre from UCONN and is a member of the Dramatists Guild. She is the author of “Grant Me a Higher Love,” “Why Good People Can’t Leave Bad Relationships,” and “Confessions of a Reluctant Long Island Psychic.” Her full-length Music Drama, “Beethoven, The Man, The Myth, The Music,” is published by Next Stage Press. www.Grantmeahigherlove.com.