'The Producers:' Old-School Hilarity Recreated Live!

There is a big, steaming bowl of borscht on display in northwest Indiana, where Theatre at the Center's production of the 2000-2001 hit stage musical "The Producers" is playing now through October 19th. And yes, I do know that borscht is supposed to be served cold.

But, aside from some red-hot sexuality in its subject matter and in its attractive young cast, this old-style musical comedy juggernaut is exactly the East Coast gourmet treat you would expect it to be, in this production directed by William Pullinsi and choreographed by Stacey Flaster (both hugely indebted to the direction and choreography of Susan Stroman in the original Broadway show and its film adaptation). Mel Brooks's stage treatment (with Thomas Meehan) of his 1968 film is full of the stock characters and jokes that Sid Caesar and the cast of "Your Show of Shows" performed to such success in the 1950s. The humor here is bawdier and a little edgier than television would allow a half century ago. But anyone familiar with that brand of Catskills summer resort "show biz" feels comfortable with the multi-Tony-winning stage version of the legendary title, and the Munster, Indiana TATC does nothing to alter that comfort. Why should it?

It is true that the show is full of equal-opportunity offensive stereotypes, with Germans, Swedes, gays, senior citizens, accountants and Jews as (nearly) equal comedic targets. But while it is not suitable for young children, any adolescent with attentive parents could navigate this minefield of satire with ease, and adults of a certain age will revel in the opportunity to laugh uproariously at humor they wish they could throw at their best friends, but don't have the knack or the chutzpah. 

With Norm Boucher as Broadway producer and lothario Max Bialystock (a little younger and trimmer than he could otherwise be, but full of comic bluster and topped with a sweaty comb-over), and the prodigiously talented young Michael Mahler as the adorable man-child accountant Leo Bloom (kind of a male version of "Mame"'s Agnes Gooch), this show is in sure comic hands. Both actors have to sing a little lower than their natural singing range-but these are hardly operatic roles, so no matter. Their songs are delightful, landing solidly every time.

So who really stands out in the singing department? Well, Laura E. Taylor for one. As Swedish bombshell Ulla, Taylor is an unconventional physical type for the role, but she sings (and talks) the hell out of it, and her acting is so confident that you believe she IS Ulla, even if your eyes are not fully convinced. She is a supremely talented performer, and she revels delightfully in the role.

Another unconventional casting choice, and the one which makes this production a must-see, is Sean Fortunato as neo-Nazi nut Franz Liebkind. The model of a singing classical actor, Fortunato is brilliant, an absolute genius in the role. Do not miss this talented actor bringing his training, technique and experience to bear on a role which could very easily be a throwaway. Nice work, beyond the call of duty, and thoroughly rewarding.

And yet a third surprise casting choice is the height-challenged veteran actor Jamie Baron, chewing up the scenery and then reigning it all back in as the flamboyant yet insightful director, Roger DeBris. He looks like a Chrysler Building babydoll cutie in his first scene, an aging, mid-century gay Napoleon later, and ends up as a really authentic stage Hitler. Again, nice work, and totally in service of the material at hand.

The other supporting and choral roles, all part of a talented, attractive, singing and dancing ensemble, are handled by expert local Chicago-area performers, having the time of their lives. They wear Brenda Winstead's witty and detailed costumes with panache, and trod the forestage in front of Nick Mozak's serviceable scenery with aplomb. Props by Allison Schenker and frequently inventive lighting by Denise Karczewski round out a professional if slightly subdued design concept. William A. Underwood's orchestra bounds though songs like "We Can Do It," "I Wanna Be a Producer," "Keep It Gay" and the legendary "Springtime for Hitler" with the sound of Broadway in the air. Boucher's "11:00 number," the madcap recap called "Betrayed," is as impressive as you think it should be, and just as difficult! 

And while the first act of this show has always struck me as a mite boring, the second act of this particular production hums along so well, with so much riding on every farcical plot twist, fancy dance step and jokey observation, that the end result is a satisfying evening of human interaction and real-world growth, couched in a pastrami on rye with a deli pickle on the side.

I'm assuming that everyone and his great-aunt Estelle is familiar with the plot of "The Producers"-Broadway golden age producers hit upon a money-making scheme that will pay off only if their show fails, only to see it succeed and delay their vision of a happy ending for a stage moment or two-so I'm not insulting you with a synopsis, gentle theatergoing reader. If you love show business, and if you love to laugh along with the goofy good guys of this world, then high-kick your way to the Munster "Producers." It's a fun, fun night of musical comedy mayhem, and a tear just might form in your eye before it's done. Is it the chaser lights, or the bonds of lifelong friendship? You will have to tell me, as soon as you can tell for sure. 

Photos (top to bottom): Norm Boucher and Michael Mahler, Norm Boucher and Michael Mahler, Laura E. Taylor flanked by Boucher and Mahler, Michael Mahler and ensemble, Norm Boucher and ensemble. Photo Credit: Greg Kolak.

"The Producers" plays Wednesdays through Sundays, now through October 19, 2008, at Theatre at the Center, 1040 Ridge Road in Munster, Indiana, 35 minutes from downtown Chicago. For tickets ($36-$40) call the box office at (219) 836-3255, or for more information, visit www.TheatreAtTheCenter.org.