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.