"KNOCKOUT PERFORMANCES" in The Producers!
A "magic, side-splitting, masterpiece!"

This 'Producers' Knows How to Put on a Show

By Chris Jones
Chicago Tribune Theater Critic

As the Broadway producers discovered to their cost when original stars Nathan Lane and Matthew Broderick hit the road with all their money, "The Producers" is all about Bialystock and Bloom, the veteran and wannabe producing double-act. Heck, you could stage everything else on a big, round moon — Little Old Ladies, "Springtime for Hitler" and all — and if your two leads ain't boffo, you'll be hearing crickets instead of guffaws.

Thus, for the record, let it be said that Guy Adkins' Leo Bloom and Lehman's Bialystock are both knockout performances. Leaving aside the original stars, they're the best I've seen, and I've seen almost all of the others. Often to my cost.

Adkins — who just got back from a national tour of "Sweet Charity" — really has reached the point in his career where he should be a bona fide musical-comedy star on Broadway. Rooted in the most devilish kinds of neuroses but weirdly vulnerable nonetheless, his Leo is endlessly funny and credible. And Adkins is a better singer and dancer than Broderick.

To Robin's great credit, this fast-paced, enjoyable show doesn't just attempt to stick Susan Stroman's original 2001 Broadway staging in the middle of a big suburban circle, but instead comes with up some new ideas. In general, this version lets the characters float through a more imaginative world.

The Little Old Lady ballet — replete with conclusionary cartwheels — is a killer. The closing number has a lot more pizazz. And some of the trickier roles are really done well. I think Michael Aaron Lindner nails Franz Liebkind, the wack job dedicated to furthering the Fuhrer, in uniquely spectacular fashion. And as that concise Swedish bombshell, Ulla Inga Hansen Benson Yonsen Tallen Hallen, Angela Feeney does something entirely different. She dials back the comedy and gives the girl a heart. It worked for me.

First Regional Production of Mel Brooks' Hit Blooms at the Marriott

By Hedy Weiss
Chicago Sun-Times Theater Critic

At the very same moment that Mel Brooks' latest show, "Young Frankenstein," is in rehearsals for its Broadway premiere in early November, his previous movie-turned-musical hit, "The Producers," has opened at the Marriott Theatre in Lincolnshire, marking the first regional production of the Tony Award-winning show that, as you might recall, had its flashy pre-New York tryout in Chicago in 2001.

Imagine a kinder, gentler, more humane take on "The Producers" -- one that conjures up more of a sweet nod to the world of vaudeville than the crass money machine of contemporary Broadway -- and you will have a sense of the tone established at Marriott by veteran director-choreographer Marc Robin and his cast.

Robin's production is a great deal more subtle and Chaplinesque than the original, and a whole lot less strident. And surprise, surprise: In this version of the show you can even begin to enjoy several of the songs in Brooks' self-penned score, as opposed to leaving the theater with nothing but "Springtime for Hitler" pounding in your head.

And all the classic moments of the original are here -- from the wonderful adding-machine nightmare of "I Wanna Be a Producer" (given a nice Expressionist twist) to the German follies number featuring Nancy Missimi's salty beer stein and pretzel costumes, to the hilarious parade of old ladies on walkers who happily invest in Broadway shows in exchange for sex. (Here, too, is the wildly politically incorrect homosexual stereotyping, all dealt with quite breezily.) True, much of the fabric of "The Producers" is enmeshed in director-choreographer Susan Stroman's original staging, but Robin has managed to put his own spirit and his very stylish theater-in-the-round spin on it.

In the starring roles are two of Chicago's most practiced and innately musical actors: Ross Lehman, as the crass Max Bialystock, a Broadway legend who has fallen on hard times, and Guy Adkins as Leo Bloom, the meek accountant who is finally living his show-biz dreams.

Among the more inspired bits of casting here is the choice of Michael Aaron Lindner as Franz Liebkind, the Nazi writer whose script is judged a surefire failure but turns out to be a hit. Lindner is a hefty guy who proves to be a hoot as he happily conjures a simple Bavarian country bumpkin with a twisted mind. Also in top form is Bernie Yvon, who plays Roger DeBris, whose motto as a theater director is "Keep It Gay" and who ends up playing the Fuhrer. Yvon easily brings to mind Chaplin's comic turn as Hitler in "The Great Dictator." And he gets plenty of help from the chorus, which multitasks expertly from start to finish.

Brooks Would be Proud of Marriott's 'Producers'

By Barbara Vitello
Daily Herald

Staging the post-Broadway, regional premiere of "The Producers" means shouldering quite a burden. Fortunately, Marriott Theatre has actors Ross Lehman and Guy Adkins and director/choreographer Marc Robin to do the heavy lifting.

This big, brassy block-buster -- Mel Brooks' affectionate sendup and celebration of Broadway adapted from his 1968 film -- premiered six years ago at Chicago's Cadillac Palace. It transferred to Broadway, where it earned a record 12 Tony Awards and embedded itself in popular culture before closing earlier this year.

While scaled back, Robin's bouncy re-imagining retains the silliness and sassiness of the original, as well as its spectacle. It's classic Robin: tap-centered, very physical and grounded in showmanship. The signature visuals remain: sparkling, Rockettes-style dance numbers; a chorus of over-sexed, walker-toting, tap-dancing old ladies; and showgirls draped in pretzels and thuringers gliding across stage while Nazis parade in classic Busby Berkeley/Florence Ziegfeld style in the hilarious "Springtime for Hitler."

The story centers on wily Max Bialystock (Lehman in a pristinely timed performance), a down-on-his-luck Broadway impresario who launches a get-rich-quick scheme with nerdy accountant Leo Bloom (an endearing Guy Adkins with puppy dog eyes and a lopsided grin). The pair decides to produce a sure-fire flop and run off with investors' money. They hire the flamboyant and inept director Roger DeBris (Bernie Yvon in a near show-stealing turn) to stage the musical "Springtime for Hitler" by deranged Nazi sympathizer and pigeon keeper Franz Liebkind (Michael Aaron Lindner). Along for the ride are George Keating's sinuous and sibilant Carmen Ghia, Roger's assistant, and Angela Feeney's Ulla, the Swedish bombshell Max and Leo hire.

Ingeniously staged on Thomas M. Ryan's set (with levels that rise and descend to make the stage seem bigger than it is), it's a cheeky, shtick-filled show with humorous lyrics...

...Marriott's "Producers" succeeds on its giddy good humor and the chemistry of its leads, Lehman and Adkins, a couple of fine actors who would make any producer proud.

"You might think this is one of the best theatre investments you have ever made..."

By Al Bresloff
Chicago Theater Critic

The Chicago Theater scene is surely one of great strength- over the past several years we have had pre-Broadway tryouts, some of our "local" productions have been moved to Broadway and one of our area's regional theaters is so well recognized that they get the "first rights" on several Tony Award winning shows- this marvelous venue is the Marriott Theatre in Lincolnshire and right now they are doing "The Producers" , Mel Brooks' outrageously funny movie, turned musical, turned movie again that will have you laughing from the opening until the closing and still leave you wanting more. THIS IS GUARANTEED!

When we saw the pre-Broadway premiere with Nathan Lane and Matthew Broderick playing the titles roles, we thought we had been served the primes meat that one would ever be served, but lo and behold, the current production staged in the round by the genius of musical theater, director/choreographer Marc Robin on this smaller stage is truly a masterpiece to watch. Mr. Robin is an artist and every move he assigns the actors is a paint stroke that creates a canvass that one will want to savor for a long time. He has put together a cast that will knock your socks off- the perfect odd couple, Ross Lehman as Max Bialystock and Guy Adkins ( who takes his role to new heights) as Leo Bloom. What a pair!

The always steady Bernie Yvon is a delight at Roger DeBris, the director who's motto is " Keep it Gay" and his assistant companion is deftly handled by George Keating , another of the quality actors seen regularly at this theater. Micheal Aaron Linder and the beautiful Angela Feeney round out the main characters, but even though this is a "star" vehicle, the ensemble is a very important part of the show. As I say on a regular basis- no matter how big the show and how wonderful the leads are, if you don't have a solid ensemble, the show doesn't work. This show not only works, the actors had to add another song advising the audience that it was time to go, there was no more (this after an immediate standing ovation and thunderous applause)!

I know that this theater has a very large subscription base, so it may be hard to get a ticket, but if you like theater, find a way to get out to Lincolnshire and see this one. From the leads to the smallest role, you will not be sorry. In fact, you might think this is one of the best theater investments you have ever made and will certainly enjoy the memories of seeing this production.

You will have to hurry though, as this production will only run through December 2nd ( I think it could run for a long time and if it were in the city, perhaps open end)...

Marc Robin and the Marriott Folks Reinvent 'The Producers' for More Laughs than Ever!

By Tom Williams
Talk Theatre in Chicago

How do you improve on a 12 Tony Award Broadway musical such as The Producers in a regional production on an intimate arena stage? You hire Marc Robin to direct and have him cast the finest Chicago actor/singers/comics. The result is a magic, side-splitting night of musical comedy.

Mel Brooks is surely the zaniest comic genius ever, and in the musical version of his hit (1968) movie “The Producers”, we see just how crazy he really is. Who would have thought that a musical with the song “Springtime for Hitler” would prove to be an all time Broadway classic?

Brooks and director/choreographer Marc Robin incorporate much humor in every movement, every entrance, every costume, and every dance. It is nonstop, in-your-face satire. They try to offend everyone in a shamelessly glorious production.

When old-timers tell you, “They don’t make classic Broadway musicals anymore,” tell then to see The Producers at Marriott Theatre. Marc Robin has made it zing on Marriott’s small stage. As pure vintage as it is, The Producers is also pure robust nonstop motion. The laughs are furious, the physicality of the principals is never ending and the musical numbers keep coming.

The terrific lighting (by Dianne Ferry Williams) and hilarious costumes (by Nancy Missimi), allows The Producers to satisfy as visual art... This show rivals any I’ve seen as spectacle—all on a modest, intimate Marriott stage.

The shows rests upon who plays Max and Leo, especially after Nathan Lane indelibly established Max as a pure comedic figure and Matthew Broderick gave Leo a likable squeamishness. Ross Lehman’s energy, physicality, comedic timing combine with his fine voice make Max an effective treat. Without imitating Lane, Lehman has the character down with his own imprint. He is hilarious as the devilish producer. Guy Adkins has the nervous, nerdiness and exquisite comic chops and a nice voice together with rubbery body language to give Leo the necessary neurotic traits. Adkins is lovable and funny. He can dance and knows how to sell a comedic bit. Ross Lehman and Guy Adkins deliver two excellent, exuberant performances. We quickly care and laugh at these two comic masters. Their chemistry and fine singing give depth to the hilarious characters.

Marc Robin has reinvented the choreography in numbers like the “Keep It Gay,” “I Want To Be A Producer,” “The King of Old Broadway” and the wheelchaired old ladies in “Along Came Bialy.” Every aspect of this fast flowing production produces laughs in a most entertaining spoof of Broadway. I laughed more this time due to Lehman, Adkins and Yvon’s wonderful antics. The Producers produces enough laughs to get you delirious. The Producers once again demonstrates how great the Marriott Theatre’s shows are.

Marriott's 'The Producers' Keeps it Gay

By Michael J. Roberts
BroadwayWorld.com Critic

How do you keep The Producers fresh after a 1960's movie, a hit Broadway musical and a movie of the musical? Well, it is all in the "coesting," as Ulla would say. The latest production of Mel Brooks mega hit, which opened Wednesday at the Marriott Theatre in Lincolnshire, certainly has not made any missteps in the casting departing, starting with Ross Lehman and Guy Adkins as Bialystock and Bloom.

Put any thoughts of Nathan Lane and Mathew Broderick out of your mind, and judging by the younger skew of the audience in attendance on opening night, Zero Mostel and Gene Wilder are not even on the radar. Lehman, who is a beloved fixture at Chicago's Shakespeare Theatre, brings more of a Richard Dreyfuss quality to his Max. (Dreyfuss never quite made it to opening the London production.) This works much better in the Marriott's theatre in the round setting. Lehman projects a businessman-like quality to Max which comes across as a much more believable portrayal of the character than the fatty fat fat buffoonery of Lane or Mostel.

Guy Adkins is the best Leo Bloom I have seen. He has made a very difficult part his own. Broderick never quite found his own stride in either the stage or film, yet from the moment Adkins utters "scared, can't talk," Adkins and Bloom are merged. The audience really feels the bond between Max and Leo and the chemistry between Lehman and Adkins is real.

It is when the supporting characters come on, scene and after scene that The Producers really takes off. Michael Linder, who is a vundervul zinger und danzer and who was a previous guest on Stage Door Chicago, is hilarious as Franz Liebkind. Straight off from playing the villain in It's a Bird, It's a Plane, It's Superman, Bernie Yvon keeps it "gayer" than ever as Roger Debris, and there were many a man in the audience giving Angela Feeney's, Ulla, a standing ovation.

Marc Robin's direction and choreography are right on point. As with Susan Stoman, who did the same double duty on Broadway and in the film, this seems to be the formula to make this show work as the dance numbers are so intertwined with the action.