Under the glossy veneer of amazing choreography, the fulsome sound of Opera North’s orchestra and some spectacular performances, its gender politics are simply presented as they are. And presumably it’s OK because that’s what it was like then.
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?