PRODUCERS Review: A COMEDIC TOUR DE FORCE THAT HITS SO HARD, IT HURTS TO LAUGH!
PRODUCERS Review: A COMEDIC TOUR DE FORCE THAT HITS SO HARD, IT HURTS TO LAUGH!
MEL BROOKS' AWARD-WINNING MUSICAL IS BACK AND BETTER THAN EVER!
MEL BROOKS' AWARD-WINNING MUSICAL IS BACK AND BETTER THAN EVER!
★★★★★
★★★★★
Mel Brooks’ The Producers has returned and it has never felt more gloriously alive. After a sold-out run at the Menier Chocolate Factory, this uproarious revival has now exploded into the West End, where it dazzles with bigger sets, brighter costumes, and even louder laughs. If the Menier production was a hidden gem of anarchic brilliance, then this transfer is a glittering crown jewel: a laugh-a-minute extravaganza that proves once again why this remains one of the greatest comedic musicals ever written.
Mel Brooks’ The Producers has returned and it has never felt more gloriously alive. After a sold-out run at the Menier Chocolate Factory, this uproarious revival has now exploded into the West End, where it dazzles with bigger sets, brighter costumes, and even louder laughs. If the Menier production was a hidden gem of anarchic brilliance, then this transfer is a glittering crown jewel: a laugh-a-minute extravaganza that proves once again why this remains one of the greatest comedic musicals ever written.
What’s most impressive is how seamlessly the production has scaled up. Director Patrick Marber has taken everything that made the Menier version intimate, inventive, and irresistibly funny, and expanded it into a full-throttle spectacle on the Garrick Theatre stage. He does so without losing an ounce of charm. The comedy is sharper than ever, the physical gags land with pinpoint precision, and the staging gleefully celebrates both the grandeur of musical theatre and the sheer ridiculousness at its core.
What’s most impressive is how seamlessly the production has scaled up. Director Patrick Marber has taken everything that made the Menier version intimate, inventive, and irresistibly funny, and expanded it into a full-throttle spectacle on the Garrick Theatre stage. He does so without losing an ounce of charm. The comedy is sharper than ever, the physical gags land with pinpoint precision, and the staging gleefully celebrates both the grandeur of musical theatre and the sheer ridiculousness at its core.
Andy Nyman continues to dominate as Max Bialystock, his larger-than-life scheming bursting with manic energy and impeccable timing. He’s a showman through and through, careening from bombast to desperation in ways that keep the audience hanging on every word and note. As Leo Bloom, Marc Antolin is nothing short of delightful: neurotic, vulnerable, and utterly endearing, he provides the perfect foil to Nyman’s bluster. Together, the two are a double act for the ages, their chemistry (just like Nathan Lane and Matthew Broderick in the original production) propels the evening to comedic heights.
Andy Nyman continues to dominate as Max Bialystock, his larger-than-life scheming bursting with manic energy and impeccable timing. He’s a showman through and through, careening from bombast to desperation in ways that keep the audience hanging on every word and note. As Leo Bloom, Marc Antolin is nothing short of delightful: neurotic, vulnerable, and utterly endearing, he provides the perfect foil to Nyman’s bluster. Together, the two are a double act for the ages, their chemistry (just like Nathan Lane and Matthew Broderick in the original production) propels the evening to comedic heights.
Johanna Woodward once again brings radiant comic sparkle to Ula. She brings glamour and razor-sharp wit to the character. And then there’s Trevor Ashley as Roger De Bris—if his performance at the Menier was a revelation, here it’s an all-out theatrical tour de force. His “Keep It Gay” is a riot of camp brilliance, and his turn as Hitler in “Springtime for Hitler” is so outrageous, so fearless, that the audience is left in helpless fits of laughter. Ashley doesn’t just steal scenes—he owns them outright.
Johanna Woodward once again brings radiant comic sparkle to Ula. She brings glamour and razor-sharp wit to the character. And then there’s Trevor Ashley as Roger De Bris—if his performance at the Menier was a revelation, here it’s an all-out theatrical tour de force. His “Keep It Gay” is a riot of camp brilliance, and his turn as Hitler in “Springtime for Hitler” is so outrageous, so fearless, that the audience is left in helpless fits of laughter. Ashley doesn’t just steal scenes—he owns them outright.
Lorin Lattaro’s choreography thrives in the Garrick’s expanded space, turning numbers like “We Can Do It” and “Along Came Bialy” into controlled chaos that brims with comic invention. And “Springtime for Hitler”? It’s a dazzling, jaw-droppingly funny spectacle that manages to be both audacious and meticulously crafted. Paired with Brooks’ whip-smart score and lyrics, the result is a masterclass in musical theatre comedy.
Lorin Lattaro’s choreography thrives in the Garrick’s expanded space, turning numbers like “We Can Do It” and “Along Came Bialy” into controlled chaos that brims with comic invention. And “Springtime for Hitler”? It’s a dazzling, jaw-droppingly funny spectacle that manages to be both audacious and meticulously crafted. Paired with Brooks’ whip-smart score and lyrics, the result is a masterclass in musical theatre comedy.
What makes this revival so remarkable is that it never feels like a museum piece. Though the original premiered over two decades ago, the show still pulses with energy, freshness, and sharp satire. Marber’s direction ensures that every beat lands as if brand new, with a vitality that keeps the audience buzzing from start to finish.
What makes this revival so remarkable is that it never feels like a museum piece. Though the original premiered over two decades ago, the show still pulses with energy, freshness, and sharp satire. Marber’s direction ensures that every beat lands as if brand new, with a vitality that keeps the audience buzzing from start to finish.
Overall, this is not just a revival—it’s a comedic masterpiece. This production is riotously funny, gloriously over-the-top, and brimming with theatrical joy. It’s a night at the theatre you’ll never forget. Do whatever it takes to secure a ticket—because this is comic genius reborn! It’s definitely a must-see this autumn in London!
Overall, this is not just a revival—it’s a comedic masterpiece. This production is riotously funny, gloriously over-the-top, and brimming with theatrical joy. It’s a night at the theatre you’ll never forget. Do whatever it takes to secure a ticket—because this is comic genius reborn! It’s definitely a must-see this autumn in London!
The Producers - Garrick Theatre
Attended on 2 October 2025