Review: The Producers (LAODS) at Lincoln Performing Arts Centre

I love amateur theatre in so many ways and for so many reasons. Back when I used to perform, it was an absolute lifesaver for my mental health as well as being tonnes of fun. Doing theatre gave me confidence, helped me make friends, and taught me all kinds of wonderful things. I don’t really perform any more (though I intend to start again once my PhD is finished) but I still enjoy supporting amateur theatre whenever I get the chance.

Amateur shows can be of an incredibly high standard and can introduce more people to the joys of theatre at a relatively affordable price-point compared to professional shows.

So I’m really pleased to be doing my first amateur show review on this blog. Last night I took myself on a solo theatre date to see Lincoln Amateur Operatic & Dramatic Society (LAODS) do Mel Brooks’ musical comedy classic, The Producers.

The Producers cast members on stage pre-show. Photo: mine.

What’s it about?

(Note: review will contain plot spoilers)

Starting life as a non-musical film in 1967, The Producers was then adapted into a musical, which was further adapted into a musical film in 2005 starring Nathan Lane as Max, Matthew Broderick as Leo, and Uma Thurman as Ulla.

Max Bialystock is a producer who was once known as the “King of Broadway” but, after a string of flops, his career is failing fast. Leo Bloom, a shy and anxiety-ridden accountant who has secretly always dreamed of being a Broadway producer, arrives to do Max’s books. Leo proposes that theoretically, with a little accounts trickery, a producer could make more money with a flop than with a hit. Max leaps on this suggestion and, after some persuasion, convinces Leo to join him in bringing the scheme to life.

They set out to find the worst play ever written (Springtime for Hitler: A Gay Romp with Adolf and Eva at Berchtesgaden, written by ex-Nazi Franz Liebkind and exactly as offensive as it sounds), hire the worst director in town, and raise two million dollars to bring it to the stage. What could possibly go wrong?

Any content notes?

There’s quite a lot of sexual content, specifically sexual humour, in this show. For example, there’s a running gag that Max has sex with old ladies in exchange for money to fund his shows, and there’s a scene where it is heavily implied that two characters are having sex behind a sofa. The 2005 film, which is a fairly faithful adaptation, was rated PG-13. Some of the jokes will likely go over younger kids’ heads.

There are extensive references to Hitler and the Nazis, who are frequently made the butt of jokes. There are a LOT of swastikas on stage, briefly in Act 1 but mostly in Act 2, and an actor dresses up as a parody portrayal of Hitler. The reason Springtime for Hitler is a success is because it is so over-the-top outrageous that the audience reads it as satire.

Max Bialystock is definitely a misogynist and some objectifying and sexist things are said about women. This is in keeping with the character’s overall persona and attitudes that powerful men like him would have held at the time.

There are a couple of scenes in which guns appear. I counted a total of six shots across two scenes in the second act. None of the shots hit anyone but they are moderately loud and could make you jump.

LAODS Presents The Producers: Review

I was genuinely impressed with this slick and entertaining production of one of my favourite musical comedies.

One of the eternal problems of amateur theatre is finding the right show to suit the company. This show was clearly an ideal choice for LAODS, with the leads well suited to their roles and the 28-person company bringing a great ensemble energy. With plenty of multi-roling throughout, every member had the opportunity to show off their skills, whether they were playing sex-mad little old ladies or inmates at Sing Sing Prison. The vocal harmonies were strong and it was also great to see the show performed with a live orchestra.

Andy Morris as Leo Bloom with some of the company. Photo: LAODS on Facebook

The standout performance of the evening was from Jordan Shiel as Max. According to his bio, Shiel has a BA and MA in Drama and has been involved in theatre from an early age, and this experience shows in his portrayal of the slightly unhinged, utterly chaotic Broadway conman. Shiel’s comic timing is flawless and his “Betrayed” was laugh-out-loud hilarious.

Shiel and co-star Andy Morris have a fantastic on-stage dynamic and bounce off each other brilliantly. Morris’s Leo, with all the anxiety and panic dialled up for effect, starts out adorably vulnerable and gradually evolves into a confident man who finally knows who he is and what he wants.

I also have to give these two presumably-British men credit for maintaining convincing New York accents for the entire two-and-a-half-hour-plus show. As someone who has never been able to get to grips with accents, I’m eternally impressed by people who can switch them on and keep them going.

Jordan Shiel as Max Bialystock. Photo: LAODS on Facebook

The Producers requires a cast who will fully commit to the madness and take the audience along for the ride. I could honestly sing the praises of every one of the leads, because they are all super strong performers who brought something touching or hilarious or both to their characters. Nicola Calver was energetic and charming as the Swedish bombshell Ulla Inga Hansen Benson Yansen Tallen Hallen Svaden Swanson (“Ulla” for short), and has a great singing voice (“now Ulla belt!” - and she certainly did!) I also want to specifically mention Simon Nicholson as Roger De Bris and Lyndon Warnsby as Franz Liebkind, both of whom had me crying with laughter at various points.

The set design has clear nods to both the original Broadway set and the 2005 film. Scene changes are slick, with some enjoyable additional touches (a particularly amusing moment with a shopping trolley and the “Keep It Gay” conga line were highlights) to keep the audience engaged while the stage shifts from a street to an office to a theatre and back again.

This is a show where the visuals really matter. It has to be flamboyant, over-the-top, and just utterly extra in order to work properly. Fortunately, in that regard, LAODS also delivered. From the physicality of Max and Leo chasing each other around the office with the accounting books to the Moulin Rouge-style showgirl routine (complete with feathers galore, naturally), it’s a fast-paced visual feast without a dull moment.

A thoroughly enjoyable show, well put together and with some outstanding performances.

Where to get tickets

The Producers runs until Saturday 2 July at Lincoln Performing Arts Centre and all seats are £20. Buy tickets here.