Review: Rose-Mock's THE PRODUCERS A Satiric Masterpiece

The Quincy Music Theatre has held within its walls some truly large shows, with massive orchestrations and laughs, but the limits have now been pushed. To finish the summer, Naomi Rose-Mock has brought on a massive thirty person production of The Producers. Seeing the final piece, full of glitter and swastikas, it's clear why this show has won more Tony's than Hamilton.

A show as delicate and iconic as The Producers challenges directors across the country, but as previously discussed, Rose-Mock is no amateur. In her second go-round on the Mel Brooks smash, Rose-Mock has recreated iconic roles and characters within what was previously an unbroken mold. The energy, riotous ensemble, and stand-out performances from almost every individual number make this production of The Producers one Mel Brooks would be proud to see.

The plot of The Producers is as nuanced as the production history. Same as the story from the movie (the non-musical 1968 one and the musical 2005, although the latter is based on the stage version being reviewed). Max Bialystock and Leo Bloom decide to produce the worst show in history in order to swindle backers and get rich. Pure farce and chaos ensue.

Sam Higdon and Dan Hall (Max Bialystock and Leo Bloom, respectively) are an absolute thrill. Their unique take on antique characters, takes that bring new joy and humanity to the show, define a chunk of this show's brilliance. Higdon's powerful vibrato transform the solo 'Betrayed' into the second act's solo stand-out, while his sleazy grease-ball Max still manages to get our sympathy. Hall's Leo is more comedic than Matthew Broderick at times, through genius facial expression and timinG. Hall also has a wonderful tenor to counter Higdon, giving each duet a certain shine, and the numbers they share are pure joy.

Nathan Williamson, playing Neo-Nazi Franz Liebkind, has turned the dial to eleven in his performance. In delivery of both his choreography and quips, the razor delivery in each of his criminally few scenes was cherished. Playing the flamboyant Roger DeBris is Robert Stuart, reprising his role from Rose-Mocks 2009 production. Stuart has learned much since, and his role is polished and flawless. At his side is Alex Fabrega as Carmen, the radiant accompaniment to DeBris whose over the top singing and hammy acting works just perfectly to give every scene the teary humor Brooks intended. Rounding out the main cast is Ashleigh Littlefield as Ulla, the show's love interest subplot. In the second act, Littlefield uses her wit to give even the bubbliest line the comedic punch needed.

Florida's theatre community should be on the look-out for Rose-Mock's ensemble. Through some wonderful design, each of the dozens of ensemble groupings (little old ladies, Broadway ensemble, show-goers, Nazis, etc.) feel more cohesive and put-together than many casts. Stand-outs like the hilarious Emma Finnegan and velvet-voiced Dakota Miller only manage to pop out of the crowd due to solo bits- the ensembles move as groups full of individuals in a way that community theatre has never succeeded in doing. 'Along Came Bialy' sees an outrageous swarm of old ladies in a daunting walker-tap-dance (blessings to choreographer Taylor Whittle) that feels genius within the transitions from small scenes to large dances. Each old lady has individual problems, and handles them in their own way.

Furthering this individuality of each of the massive cast was Machelle Thompson and Robyn Smith's costuming. Over seven months of planning has played out in the over one hundred costumes, and even more accessories. Hand crafted head-pieces and exquisite quick-changing dresses are stand-outs, but in huge dance numbers such as 'Prisoners of Love' are where their planning is best executed. Thompson showed me the smartly juxtaposed stripes of the prisoners, from the tops, to leggings, where stripes are barred, vertical, thin, or wide. The dazzling subtleties laid out provide an optical illusion that has to be seen to be believed. Thompson, Smith, and the entire team continue to surprise even through the final number.

The criminally underappreciated technical aspects need mention, especially those who hand us The Producers on the platter. Todd Teagarden's muted but illusory lighting, in numbers from 'Betrayed' to 'Keep It Gay', pattern the stage with clever touches to finish off the grandeur. Mike Mock's sound design is also a pleasure, balancing the huge ensemble just below the leads, allowing enjoyment of musical director Michael Pritchard's chilling harmonies while still giving the clarity in leads. Mock and Pritchard have worked so spectacularly in giving Tallahassee's most pleasing music of the season, in both soloist and group numbers.

It doesn't matter if you know the show. It doesn't matter if you haven't heard the band play before. It doesn't matter if both your legs are broken. Rose-Mock's Producers is a praise-worthy production that is rarely seen in communities, going right in every way. From opening to closing, The Producers is a laugh-til-it-hurts adventure through some of the best music and jokes you could imagine.

The Producers runs until August 28th. Tickets can be purchased online or at the door.

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