We round up the reviews for the European premiere of Paula Vogel’s play now playing at the Menier Chocolate Factory.
The fact that Sleepless is the first large-scale indoor production since lockdown gives it a wow factor beyond the production itself.
Sleepless is a musical with plenty of heart and feeling that captures the spirit of the original film in a new way, making you see the story and its characters in a new light.
York Theatre Royal is behind the wheel for a new production of Alfred Uhry’s award-winning comedy-drama Driving Miss Daisy which takes to the stage next month with Maurey Richards steering Paula Wilcox on a journey of discovery.
If you want thoroughly entertaining, which requires no thought, just the ability to laugh, then this is the show for you. Young Frankenstein is a monstrously fun night out.
Fresh from the Final of BBC’s Strictly Come Dancing, Danny Mac and West End leading lady Carley Stenson, will be play the roles of Sam and Annie in the world premiere of SLEEPLESS the Musical, the screen-to-stage adaptation of Sleepless in Seattle, which opens on tour ahead of a planned West End run.
Ah, The Producers. Probably our favourite of the glut of movies turned musicals of the past decade or so. The original production was a wonder of un-PC satire that was far and away the best thing Mel Brooks had turned his hand to in years. More than ten years later and the show is well established in the canon of musicals that head out regularly on tour. Has familiarity dulled the humour of the piece?
Churchill Theatre, Bromley
Music and lyrics by Mel Brooks
Book by Mel Brooks and Thomas Meehan
Jason Manford and Cory English
The headline cast of The Producers is almost a who’s who of today’s popular entertainment scene. Jason Manford, Louie Spence and Phill Jupitus all take principal roles alongside the lesser known (but nonetheless industry greats) Cory English, David Bedella and the stunning Tiffany Graves. They lead a company that delivers flawless performances as they dust off Mel Brooks deliciously dated musical.
The 12 Tony-winning musical wowed Broadway in 2001, but of course the original yarn was spun by Brooks in his 1968 Oscar winning movie – and it is to that film that this touring revival pays homage. The onstage newspaper headlines scream of BJ and Vietnam as shyster Broadway producer Max Bialystock, so richly defined by Zero Mostel in the 60s, slicked-back hair and red smoking jacket, is neatly caricatured by Cory English. Back in the day Gene Wilder defined the nebbish (google it) that is frustrated accountant Leo Bloom. In 2015 Jason Manford (a surprisingly big fella in the flesh) makes the most of his lumbering features to define Bloom’s wondrously hopeless inadequacies. Manford’s anxiety-ridden Bloom seriously exceeds expectations.
The story could be neither more tasteless nor more famous. As humble clerk Bloom realises that were a show to prove a guaranteed flop then amoral producers could sell its rights many times over and embezzle the investors’ cash. Bialystock pounces on this stroke of (criminal) genius and takes Bloom into partnership. Sourcing possibly the worst script in town, Springtime For Hitler written by a crazed former Nazi and hiring Roger De Bris, a disastrous director to helm it, failure is a certainty. Until of course De Bris delivers a Fuhrer who’s camper than Christmas and the Broadway crowds go wild…
Cory English has previous as Bialystock, having played the producer on Drury Lane and he masters the ways of the wily granny-shagger with aplomb, his 11 o’clock number Betrayed being a particular treat. Mel Brook’s Borsht Belt comedy roots (google that too) are manifest in Bialystock’s corny patter, as his unique style merges Sid James’ Carry On smut with a wry sense of self-deprecation that’s as New York Jewish as pastrami on rye.
The biggest butt (pun intended) of Brook’s gags is of course Hitler and the Nazis – and what better way to humiliate a truly evil force than to laugh at it (With a momentary pause to sadly wish “if only” that could be the case in today’s troubled world). Along the way however and in alphabetical order, blacks, gays, Irish, Jews and Swedes are all mercilessly mocked in a show that makes for one big guilty pleasure.
David Bedella’s De Bris is a high priest of high camp. Preening and pouting, he is poured into his dress – and gives Hitler just the right touch of manic megalomania too. Louie Spence as his posturing assistant Carmen Ghia has a modest role but milks it magnificently with a movement that is as technically brilliant as it his hilarious. And whoever thought of Phill Jupitus to play the Nazi Franz Liebkind deserves the Iron Cross. The comedian’s (rarely seen) fat, pasty, lederhosen-clad legs add visual genius to the deluded German. Be in no doubt, Jupitus cannot sing and his almost solo number, Haben Sie gehört das deutsche Band will stay with me for a long time.
Meanwhile, leading lady Tiffany Graves’ blonde bombshell Ulla simply steals her every scene. Graves’ accent is wonderfully caricatured, her singing sensational whilst her dance and cartwheeling/backflipping movement is jaw-dropping. Sporting fabulous tresses (kudos to wig mistress Sally Tynan) Graves is every inch the (not so dumb) Swedish Blonde.
Magnificence elsewhere from Lee Proud’s choreography, with the big numbers of Along Came Bialy (complete with denture wielding tap-dancing geriatrics) and Springtime For Hitler evidencing a company well drilled in dance routines that blend professional precision with immaculate comic timing. And look out for the unexpected nod to the Vulgarian (aka Germanic) Doll On A Music Box routine from Chitty Chitty Bang Bang as the Springtime number kicks off.
Bravo too to Andrew Hilton’s nine-piece band who give Brooks’ compositions the bold and brassy treatment they deserve.
The Producers’ producers have clearly piled their cash (or their investors’ ?) into the cast and it shows as Matthew White directs a magnificent 5* flawless troupe. But the un-inspiring scenery wobbles, the tank-gun helmets of the dancing Nazi showgirls look like they are Blue Peter inspired cardboard creations and unforgivably, Hitler’s moustache fell off in his big number Heil Myself! Bedella to his credit gamely played on – but where were the professional production values? The show’s future audiences deserve a little better.
As entertainment, this touring production of The Producers provides a sensational night out at the theatre. Top notch actors, delivering top notch routines. It makes for one of those rare nights when cheeks will ache from grinning. If you love comedy and musicals it’s unmissable. Brilliant, irreverent, hilarious and all performed by one of the best companies on the road today.
Plays until 14th March, then on tour.