The Producers: A New Mel Brooks Musical

"Comedy is tragedy plus time," said Woody Allen in a famous quip from 'Crimes and Misdemeanors'. Carol Burnette or Lenny Bruce may also be the source of that quote, which just goes to show that there's truth underlying the claim. But just how long does it take before it's safe to laugh at misery? As the cold reaction to Uwe Boll's recent film Postal proves, most agree it's still too soon to make fun of September 11. I also don't think we'll be seeing full fledged parodies of Tiananmen Square, the Rwandan genocide, or Apartheid any time soon. Such subjects are off limits even for even the most hardened cynics. Okay... so maybe Dave Chapelle would do an Apartheid skit, but I find him pretty far from 'funny'.

It has been acceptable, however, to find humor in WWII Germany for awhile now. Just watch Charlie Chaplin as Adolf or Peter Sellers as Dr. Strangelove (in two of the best comedic performances ever put to film) for proof that Nazi satire is nothing new. More recently, South Park has been doing the Hitler shtick successfully for a long time, and "Life is Beautiful" won a damn Oscar.

My favorite vehicle for fascist farce would undoubtedly have to be Mel Brooks' The Producers. The classic comedy, which follows two Broadway producers who hatch a scam to make millions by staging the biggest flop ever: "Springtime for Hitler", won an Oscar in 1968 and has subsequently become a cult-film staple.

In 2001 the film was adapted by Brooks himself for Broadway, and the resultant musical comedy has now found its way to Vancouver's Stanley Industrial Alliance Stage. Thanks to the Arts Club Theatre, Vancouverites will have an opportunity to enjoy one of the funniest and most popular musicals in Broadway history, near perfectly handled and playing until July 13. You can't do any better in terms of mainstream theater... this one is worth the money.

After a downhill slide that began with 'Spaceballs' and seemed irredeemable come 'Robin Hood: Men in Tights,' Mel Brooks returned to 'The Producers' to make his first attempt at musical theater. The plot doesn't stray far from the original: aging producer Max Bialystock and wannabe accountant Leopold Bloom team up to produce a Nazi-themed musical, after finding a loophole in the Broadway money machine which will allow them to make more from a box-office failure. In true musical fashion, it's all amped up about a thousand notches for the stage... with a final product thats probably even better than the film its based on.

The swastikas fly high throughout the production, but it never comes close to feeling offensive. It's not easy to ask an audience to laugh at what could be the 20th century's moral low-point; and mixed reactions to a recent round of Hitler parodies and a new book of swastika cartoons show that while making a Nazi joke may be easy, it's hard to pull off without offending...

As Chaplin proved, mocking fascism is only ok when it's used as a means towards the greater moral good. While Mel Brooks may lack such lofty ambitions; the story of 'The Producers' is a clear and effective attack against the artistic vacuity of the money-hungry entertainment industry's commercial engine... so it's alright to giggle at the symbol being used in place of a bra or adorning the handles of playwright Franz's war-scooter.

While the original movie had Broadway firmly locked in its crosshairs (short version: its all about the money), the subsequent theatrical adaptation is able to take the satire to a whole new level. A lot of us find musicals pretty damn silly, and apparently so does Mel Brooks. Aided by charmingly over-the-top choreography, set design, and costumes by the trio of Valerie Easton, Ted Roberts, and Alison Green, Brooks' twisted view of the Brodway musical is downright hilarious. From a troupe of tap-dancing sugar-grannies to the limpest of limp-wristed Broadway directors, longtime Arts Club Artistic Managing Director Bill Millerd handles the material with such assurance that it's hard to believe the production has received an equally effective adaptation anywhere else.

The one obvious weak point of the performance I caught, however, was lead Jay Brazeau's voice. It's unfortunate too, because otherwise the veteran actor was near perfect: his wonderful presence would have easily rivaled Mel Brooks... if it weren't for the lack of lungpower (granted, Brooks himself could never sing these songs today). His physicality was hilarious, and felt so comfortable on stage I would think he's been doing 'The Producers' for years. One forgives the occasional unheard line or slurred syllable, as Brazeau traverses his character's mad, mile-a-minute monologues with confident charisma. I'm sure his delivery will improve as the month goes on... (Update: turns out Brazeau had a throat infection on opening night... I'd expect him to shine now that its cleared up)

The night's strongest performance was local boy Josh Epstein's portrayal of Leopold Bloom, one that's sure to secure his position as a leading figure in Canadian theatre over the coming years. I would never have guessed that this was Epstein's first starring role; his hilarious portrayal of the conflicted accountant/wannabe Broadway star, 'blue-blankie' compulsion and all, seemed effortless. Can't wait to see him grace the 'Arts Club' stage in the future...

Nearly as good were Terra C. Macdonald as the "Sveeeedish" songstress Ulla and Ron Pederson as one of the aforementioned limp-wristers, who somehow manages to sell a character that should be a tired stereotype. But met with racuous applause each time he graced the stage, in what was clearly the audience's highlight, was Jackson Davies of Beachcombers fame. He plays the insane, lederhosen-clad Nazi playwright who ends up acting as Adolf 'Elizabeth' Hitler himself in the beautifully staged absurdity of 'Springtime for Hitler'.

The hilarity of that musical-within-a-musical is the peak of continually entertaining play, one that never feels offensive mainly because it's all so damn insane. And if you've ever been to Broadway, or simply seen a big-budget musical (hell, even a Hollywood film), 'The Producers' will leave you laughing... a lot. The Arts Club is on a bit of a roll this year, and while this latest offering may lack the local relevance of a homegrown play like Poster Boys, I doubt we'll see as good of a mainstream musical in Vancouver... ever?

The Producers plays at the Stanley Industrial Alliance Stage until July 13. Tickets & Showtimes available online via The Arts Club.

header photo of Jay Brazeau and Josh Epstein & side photo of Josh Epstein and cast by David Cooper