Pittsburgh CLO’s ‘Producers’ matches original’s laughs

By Alice T. Carter
PITTSBURGH TRIBUNE-REVIEW
Wednesday, July 7, 2010

Pittsburgh Civic Light Opera has done itself proud with a fast, funny and thoroughly entertaining production of “The Producers.”

By now, most of you know the musical’s history.

Mel Brooks’ 1968 film began as an underground satirical hit, then became an enduring classic. In 2001, Brooks, assisted by book writer Thomas Meehan, turned it into a blockbuster Broadway musical that won 12 Tony Awards.

It’s the CLO’s turn to stage a production of it, and it creates one that’s every bit as good as — and, in some cases, better than — the national touring version.

Much of the credit goes to the production’s director and choreographer Bill Burns who was resident director and choreographer for the national tour and several international and U.S. regional theater productions.

He re-creates Susan Stroman’s original direction and choreography with authority while making it feel new and exciting.

The production retains many of William Ivey Long’s original costume designs and — with one notable exception — most of Robin Wagner’s original scenic designs.

It’s still the same hilarious tale of a down-on-his-luck Broadway producer who partners with a nerdy accountant in a get-rich-quick scheme. It hinges on the accountant’s insight that it’s possible to make more money with a flop than a hit by raising $2 million, spending $100,000 to produce the show, closing after the opening-night reviews and taking the remaining $1.9 million to Rio de Janeiro.

Only problem is “Springtime for Hitler” becomes a box office hit.

Burns and the CLO?make this production their own with excellent casting choices.

John Treacy Egan and Jim Stanek as producer Max Bialystock and accountant Leo Bloom form a warm, Laurel and Hardy relationship that wrings additional laughs from the already dependably comedic material. It’s also abundantly clear that both their characters love the theater as much as they enjoy the adventure of conning investors and putting together a show.

Egan generates much of the comedy as Bialystock who’s reduced to romancing little old ladies who become investors for his productions. He’s a big man with big appetites, big ambitions and great desperation.

As Bloom, Stanek, a Cranberry native, is a enthusiastic and willing conspirator and sweetly unsettled by his blossoming romance with Ulla, the Swedish receptionist/secretary/actress played by Ashley Spencer.

Stuart Marland and John Walton West go a bit over the top as the giddy and gay stage director Roger De Bris and his assistant Carmen Ghia.

Former ‘N Sync member and “Dancing with the Stars” finalist Joey Fatone drew big laughs and audience affection as the Nazi playwright Franz Liebkind.

The ensemble gets to show off its skills in big dance numbers, most notably the walker-assisted “Along Came Bialy” and “Springtime for Hitler.”

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