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

By Hedy Weiss
Chicago Sun-Times Theater Critic

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.

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.

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."

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 Producers" ... 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.

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.