Review: Mercury's THE PRODUCERS Big on Laughs

Mercury Theater is a small venue, but it's production of Mel Brooks' Tony award-winning production is still big on laughs.

The stage adaptation of the 1967 classic film of the same name made it's pre-Broadway tryout here 15 years ago and essentially put Chicago back on the map in terms of out-of-town tryouts and sit-down productions. It's a big musical and the fact that Mercury's production succeeds at all is a testament to the show's two leads, Bill Larkin and Matt Crowle.

Larkin plays beleaguered Broadway producer Max Bialystock. Once the king of the Great White Way, a successions of flops has dimmed his prospects. After his nebbish accountant Leo Bloom (Crowle) uncovers a mistake in the books from Max's last flop, the two hatch a scheme to over-sell shares in Max's next show, intentionally produce the worst musical they can find (a show called "Springtime For Hitler"), and then pocket the rest of the money (after all, backers never expect to recoup money from a flop).

Larkin is the master of the double take and has impeccable comic timing. The role requires a certain amount of scene chewing and Larkin literally throws himself into the role like a beggar at a banquet.

He's matched in comedic talent by Crowle. Crowle has given his Leo enough physical ticks and mannerisms that we never lose sight of him. Though a wallflower, he's a watchable wallflower. And, like his co-star, Crowle puts his entire body into the performance.

The pair are a perfect comedic team along the lines of Dean and Lewis or Abbott and Costello (yes, they are that good). The comedy bits between the two are like watching a well-oiled machine running. Larkin will set up a joke for Crowle, Crowle delivers and then returns the favor for Larkin.

It's a master class in comedy and possibly enough of a reason to catch the show. There are other standouts, though. Harter Clingsman scores with his take on playwright and Nazi sympathizer Franz Liebkind. The role is usually somewhat forgettable when measured up against the rest of the show's schtick, but Clingman finds some new comedy to mine.

Jason Richards and Sawyer Smith (as flamboyant director Roger DeBris and his much-put-upon personal assistant Carmen Ghia) also embody some new comedic life to their roles. Richards' interaction with the audience during the show's iconic number "Springtime for Hitler" was particularly endearing and Smith has a set of pipes on display here that isn't normally associated with his character.

As would-be chorus girl/secretary Ulla, Allison Sill has trouble initially with the madcap elements of her Swedish character and comes across a bit more comfortable with the far more grounded aspects of the romantic subplot. Vocally, she certainly can hold her own.

Costumes by Francis Maggio and wig and hair design by Kristen Berger-Nolte are all on point and make the production feel Broadway-caliber. Jeffrey D. Kimiec's set, however, feels a bit too cluttered with the theater signs, though.

Director L. Walter Stearns, who in the past has shown deft skills in producing large-scale musicals in Mercury's smaller space (THE COLOR PURPLE comes immediately to mind), may have bit off too much this time. Big production numbers like "Springtime for Hitler" and "Along Came Bialy" just don't feel very big. If you've never seen the show before, you probably won't notice, though. One senses Stearns missed an opportunity to show how creative he can be.

Still, Crowle and Larkin are brilliant in their execution of Brooks' comedy. The show gives you an opportunity to watch two of Chicago's finest comedic actors at work and that alone is well worth the ticket price.

THE PRODUCERS runs through June 26th at Mercury Theater Chicago, 3745 N. Southport. Tickets$30-$65. 7773.325.1600. www.mercurytheaterchicago.com.

To post a comment, you must register and login.