West End Review: The Producers

The Producers
Theatre Royal Drury Lane

The standing ovation said it all. Nathan Lane, stepping in to save London's The Producers, has not only saved the show but stolen it; upstaging every scene and sweating his way to the bank. All offstage gossip aside – he stepped into the role just days before first preview - Lane really is worth the hype, as is the transfer of Mel Brooks' Tony award winning smash.

Max Bialystock (Lane) is a failing Broadway producer, 'once the King but now the fool.' After a visit from his accountant Leo (Lee Evans), who tells him that he could make more money with a flop than a hit, his Broadway dreams are back – only slightly reversed. For Max wants to stage the worst show ever written – a sure-fire flop. The result is Springtime For Hitler, the act-two showstopper starring Adolf 'Elizabeth' Hitler. On their journey they meet various zany - and perfectly-created - characters; a sex-mad Swedish secretary, a flamboyant gay director and a Nazi party loyalist. 

Many fear that the show is too Americanised, hence its disappointing sales in Australia and Canada, but judging by the laughter, applause and standing ovation – which is a much rarer affair in London than New York – the show works here a treat. Little has changed in the music or lyrics and the jokes remain in tact, though one about Winston Churchill does go down a stinker. The structure of the piece is easily overlooked, but such masterly creation of character, setting, pace and mood seems to be taken for granted.

Sharing equal billing with Nathan Lane is comedian Lee Evans, known for his ability to sell out stadiums with stand-up comedy. The pair are reunited after the film Mousetrap, from which Lane suggested Evans to Brooks. His comic timing, naturally, is perfect as expected. His singing isn't as slick; despite a charming voice he occasionally has trouble with the high notes, but his dancing and likeable characteristics washes that small qualm away. Some have said that he brings too much Lee Evans to the role, but when he's at the top of his game professionally, surely he's 'Lee Evans' for a very good reason..

The supporting roles each have the chance to shine and do so admirably. Leigh Zimmerman excels as Ulla, lighting up the stage with her charm, presence and towering frame. James Dreyfus, known to audiences for many camp roles on TV, is an amusing Carmen Ghia, plus there's a great Hitler in Conleth Hill.

Director Susan Stroman should be proud. Earlier this year London was flagging; plays closed overnight and musicals seemed dreary and old. Now her and Brooks' production of The Producers has changed the landscape of the West End, hopefully for the long-term future, as it's raised the game to brand new levels. I fear it may become The Nathan Lane Show, and no doubt the producers are up all night with similar fears, but this is Springtime for Stroman - a must-see for anyone heading to London.