The Producers

(seen at the afternoon preview performance on 10th September 2025)

On the third day of the outrageous tube shutdown (mirrored wittily on-stage in Max’s newspaper headline, 'ho ho' - 'yah boo sucks' to the wit), the monkey was dubious as to whether it was worth dragging itself to this “seen-it-once-you-got-the-jokes” show, in a version which didn’t impress it overly at the Menier Chocolate Factory.

It was wrong. Sure, Scott Pask’s rear stage barred set is still dubious and looks a little incongruous on the West End stage, but the costumes (Paul Farnsworth) and other visuals are cranked up to 10.

Patrick Marber seems to have learned from the previous run. This time around, the directing feels far livelier, with many entertaining extras added if you are quick enough to catch them. The parodies from other musicals actually land (unlike at the Menier). The lengthy first half rarely dips, the second half sputters then soars.

Most of all, Andy Nyman and Marc Antolin have found their partnership as Max and Leo. Both comfortable enough to create the uneasy familiarity the show needs to feel upbeat and hopeful amid the sleaze.

From Nyman facing off with Roger DeBris (Trevor Ashley) to Antolin quipping joyfully (for the benefit of only a few seats around monkey’s front row spot) that an empty seat beside it meant, “they’re leaving already” – they are all having fun with the material.

DeBris’s crazy household has further madness as Ashley clashes with factotum Carmen Ghia (Raj Ghatak) on witheringly good form.

Crazy Kraut author Franz Liebkind has Harry Morrison stealing every scene he is in. Another grown into his job so well, you just know he has installed a pigeon loft in his dressing room.

Lorin Lattarro’s choreography lets Ulla (Joanna Woodward) show her Swedish abilities to tie men in knots to the full, and also always gives the ensemble plenty to do – some of it quite filthily hilarious.

The fate of the pigeon after a trouser excursion is resolved at the curtain, in a manner delighting Tom Lehrer fans - and teenage boys - in particular.

It will never be possible to match the movie, nor capture the spirit of the time when the stage show finally arrived at the Theatre Royal, Drury Lane with Nathan Lane in the leading role.

This revival does not try. It is its own creation; it is what it is. Keeping it gay, keeping it gay, keeping it gay; an outrageous riot of a story is told with maximum laughs on every level. That’s where they went right.

It should run until at least springtime for you-know-who (the little old ladies who will get their money back investing in this show, who else do you think monkey meant?).

From the previous run, its 4 star opinion of the Menier Chocolate Factory 2024 production is available here.

Stalls B7: 20th October 2025. Four rows from the front and a very good view, the seats are offset from the row in front, whereas the first three rows aren't offset. Tall people will cause a bit of bother but shouldn't be fatal. I would think that the front row would be good for this production.
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The Producers, possibly the greatest of all Mel Brook’s comedies - and the man has penned a series of them over the years - based on the premise of, if you get it right, staging a total flop can make you more money than a successful show!

One time successful producer Max Bialystock is down on his luck, with yet another poor choice of show tanking. He needs a way out of the mountain of debt. Enter accountant Leo Bloom… who comes up with the above plan, and the pair go in search of the worst script ever written.

This revival - moved from the Menier Chocolate Factory to the Garrick (an excellent choice for this transfer) - knows the way to approach this show is with unflagging energy. From the moment Max Bialystock (Andy Nyman) sees his latest show head down the tubes to unrelenting negative reviews to the satisfying conclusion to the story, the pace never lets up.

The aforementioned Andy Nyman provides an utter tour de force as Max; how he maintains the pace (he is rarely off the stage) is a miracle. His partnership with Marc Antolin (accountant turned would-be producer Leo) is a joy, the two bounce off one another, their odd-couple relationship being played out to perfection.

Love interest comes courtesy of Joanna Woodward as Swedish would-be starlet and secretary Ulla Inga Hansen Benson Yansen Tallen Hallen Svaden Swansson (“They’d put her name up in lights, if they could find enough bulbs”). Full confession, I am a big fan of Ms. Woodward (I’ve seen her in, if my maths is correct, 8 productions to date), but I’m not exaggerating when I say she is the perfect foil for the two male leads. A potential love triangle is touched upon but then shunted into the background; a good choice, focussing on the growing relationship between Leo and Ulla is far more rewarding.

Other star turns come from Harry Morrison as mad ex-Nazi and playwright Franz Leibkind, joyously over the top and having huge fun with Brooks’ material, and Director/unwilling lead Roger DeBris (played on the night by Matt Gillett, dialling the camp up to 11).

The ensemble are given plenty to do - the pigeon gag had the audience in fits of laughter.

The staging is fairly simple - what look like gym exercise bars at the rear look like a strange choice but are used to very good effect by the ensemble. Wardrobe is camply glamorous (very clever change of Bialystock’s dress suit from shabby to shiny). Sound and light all work perfectly.

For those of you of a more delicate nature, enter into this show carefully. This is Mel Brooks, he has never shied away from slap-in-the-face comedy (I am VERY glad not to be slapped in the face by one particular visual gag!). But there is a wealth of more subtle content thrown in, a gentle touch applied to the blooming (no pun intended) romance between Leo and Ulla and a deft touch in knowing when to gently apply the brakes at the right moment.

This show dials in the camp from the outset, it rarely dips in pace, it’s cast work their socks off to keep the momentum going, the gags hit the spot (a truly spectacular performance of “Springtime For Hitler” has the audience miss the movie’s gag of sitting in shocked silence as it ends - we couldn’t help applaud in between the laughs).

It’s a hit, it deserves to run and run. And the little old ladies will be seeing a very big return on their investment. Bright brash, fast and funny, go and see it. Unless you are of a more prudish bent (if so, why are you going to see a Mel Brooks comedy?) this show is going to have you laughing out loud.

Bob Pickett.
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16th April 2026. LOVED IT! Richard Kind and the guy playing Leo were fab! Slightly disappointed with Trevor Ashley but it may be that Gary Beach is too ingrained in my mind. Same with the guy playing Franz. The rest was perfect! Hoping to go back before Kind leaves. 5 stars.

Stalls O7: The legroom was fine. The pillar wasn't really much of an obstruction however the tall man seated in front of me was really in my way. There doesn't seem to be much rake between this row and the row in front of me although the row in front of it looked good. I would probably sit here again, hoping for a not tall person in front of me. Other than that good view. The overhang from the circle didn't obstruct for this show but might for one with a taller set.

Second visit, April 2026.
Loved it again. Had the understudy for Franz and loved him. Thought he was better than the normal actor. So funny, especially his eyes/face!

Stalls F17: Great view! Decent legroom. Would sit here again.

Third visit, May 2026.
Loved being in the front row! Lots of fun seeing it from this close!
Stalls AA11: Great legroom. Could see the stage floor fine. Great to be this close!

Fourth visit, May 2026:
Stalls A14: No seat in front of you, so unlimited legroom and great view!

Fifth visit, 14th May 2026, afternoon. Had understudy for Leo who was fine but didn’t have the charisma. Finally saw Andy Nyman and I think he was getting sick as he kept clearing his throat/coughing slightly although his singing didn’t appear affected. Announced the next day his standby would be performing for the weekend. I have to say I preferred Richard Kind.

Stalls C5: The view was good for me but the row in front is not offset so if there is someone tall sitting in front of you they will obscure your view. Legroom was fine.

Broadway John

The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.

Venue Box Office & Current Prices

Ticketpipe

• The Producers - The first major London revival of Mel Brooks’ musical adaptation of THE PRODUCERS transfers to the Garrick Theatre this Autumn following a sold-out run at the Menier Chocolate Factory.
• The Producers & Browns Covent Garden – only £79.50 per person! - Tickets to The Producers located in the Stalls or Dress Circle (normally up to £79.50 face value) & a 2-course meal at Browns Covent Garden, just a few minutes’ walk away from the Garrick Theatre
• The Producers & return rail ticket – only £79.50 per person! - Enjoy The Producers with a Stalls or Dress Circle seat (worth up to £79.50), plus a cheap day return National Rail ticket from selected stations into London – all in one great-value package! Please note: Theatre + Rail packages can be booked up to 3 calendar months from the current date
• The Producers Theatrebreak -
• The Producers Midweek Valuebreak – only £108.00 per person -

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