The Producers | Garrick Theatre

The Producers, which is based on the 1967 film by Mel Brooks, makes its grand West End debut following a critically acclaimed and sold out limited run at the Menier Chocolate Factory earlier this year. Brooks has penned the music, lyrics, and co-wrote the book, along with Thomas Meehan, creating a stage adaption of the movie that will delight fans. Directed by Patrick Marber in his musical directorial debut, this production promises glamour, guts and a gay old time for audiences. 

The Producers follows Max Bialystock (Andy Nyman) trembling over his future as a Broadway Producer after his latest production, Funny Boy, is a colossal failure. However, when accountant and dreamer, Leo Bloom (Marc Antolin) realises that a producer could in fact make more money with a flop than with a hit, Max realises they've struck gold. Determined to put on the worst play around, with the worst director and the worst cast, Bialystock and Bloom set out to find a disastrous musical.

Where, oh where, does one start to describe just how perfectly right The Producers is as a musical? The script is witty, providing a laugh a line (often more), with a clarity that ties the larger framework together. The cleverness of the script comes from the internal concept that underlines the scenes, whilst creating such a direct link between horror, humour and history that one cannot help but be amazed by how slick it translates to stage. Brooks as a renowned writer, reminds audiences just why he's still a prolific presence in Hollywood, with a guarantee for one of the best nights of your life. 

Whilst the script can be admired for being so funny; the gags incorporated are often character based, allowing for the actor's performances to bring out the best in the script. With the sadly darkening world outside, The Producers isn't only a chance to love and laugh to no end again; it's also a reminder that love will triumph all, and it's okay to step back and laugh at what you once feared. The piece, despite being drenched in politics, steers clear of anything overtly political, and yet still serves as one of the most poignant signs of rebellion at the time, making the piece feel powerful in its bones. 

Self described as the "equal opportunities offender", the play is vastly anti-semitic, racist, sexist, ageist and any and all other possible offensives... and yet that seems to only entice audiences to love it more and more. By leaving no one out; no one is safe, and it's this excitement to witness everything be so wrong that it's actually right, that provides The Producers with the key to success. Deeply satirical, the show not only crosses every line, it erases the line between common decency and unredeemable, and relishes in this prospect in such a good natured way, that audiences are just as charmed. 

However, that's not to say that the characters themselves aren't well written. Max Bialystock, for all his many flaws, is a character that audiences will root for, with his larger than life ideas and his drive to make them come through. Leo Bloom brings out the sweet and tenderness that the play needs, with a sentimentality blooming between all the characters. Whilst many of the other roles are written for the audience's entertainment, the cast have allowed them to feel layered and richly alive as well. 

The script often jokes that the they've employed "the worst actors in town", and yet this production seems to have done the opposite, boasting a stellar main cast and a formidable ensemble. Nyman has incredible natural charisma and gives an exaggerated and energetic portrayal of Max Bialystock. Nyman has audiences erupting into laughter with the smallest of facial expressions and demonstrates one of the most impressive solos in Act Two's Betrayed. Nyman is a comedic genius through and through.

Antolin's sweet and wide eyed portrayal of Leo Bloom makes for a charming duo with Nyman. Antolin shows his own edge early on with his big solo I Want To Be a Producer, yet it's his more emotional duet with Nyman Til Him that really demonstrates his complete range and talent. The love between Nyman and Antolin form the foundation of the musical, and their chemistry is clear from their first scene together. 

Joanna Woodward, although in a rather limited role, is a force to be reckoned with as the sweet yet confident Ulla. Woodward captures the humour in Ulla's Swedish culture and accent, making for several long running gags throughout the show. Yet this doesn't distract from Woodward's vocal capabilities with her solo If You Got It, Flaunt It proving Woodward's triple threat talent, along with a heavy coating of comedy. 

Trevor Ashley is another incredible talent to witness in the role of Roger DeBris. Ashley's ability to turn a simple gag into a few minutes of audience laughter ordeal makes every scene even better, as well as playing to the audience whims. Ashley brings endless camp to the role and almost stealing the show at every turn. Raj Ghatak, although severely underused, still makes a mighty impact as Carmen Ghia, with an audacious signature style that has audiences giggling whenever he delivers a line. 

Harry Morrison is the show's standout, which is a nearly impossible task with every cast member delivering such fantastic performances. Morrison is simply sensational as Franz Liebkind, playing up the insane Hitler adoration and unwavering loyalty with lovable charm. Whilst Morrison already blows the audience away with his acting, promising a hearty laugh whenever he appears on stage, he shines even more when given the chance to show off his commitment to song and dance.

Alex Lodge, appropriately cast as Storm Trooper, brings down a storm as the unexpected but hilarious beyond belief, in a technically factually accurate Jesus Christ by serving alcohol whilst being hammered (metaphorically). Lodge also leads the main Springtime for Hitler sequence with a deliciously chaotic performance that leans into scenes that will forever be seared into memory. Kelsie-Rae Marshall delivers another unforgettable performance as Hold-Me-Touch-Me, a character so uniquely written Brooks.

The ensemble bringing much of the colour and excitement to the show, elevating it from a comedy play to an all out musical delicacy. The ensemble are extremely hardworking, leaping from extensively choreographed numbers, by the brilliant Lorin Latarro, all whilst maintaining the comedy element in one way or another. The ensemble have a number of roles to undertake, with impossibly quick changes (including wig, hair and makeup), and yet continually maintain or boost their energy levels. 

Special mentions go to Nolan Edwards, whose statue is one of the show's highlights, Michael Franks' impersonation of Adolf Hitler (complete with Fringe and moustache), Jermaine Woods whose excruciatingly exhausting and thereby genius turn as Scott the choreographer and Sinead Kenny as Shirley, the theatre industry's stereotypical tech person. 

Scott Pask has created a gorgeous set that easily transforms into a grand Broadway level glamorous stage, complete with finery, lights and decor or a stripped back, brick-walled and metal frame minimalistic space with ease. The bright and bizarre world of Mel Brooks exists on both levels simultaneously, and Pask's set honours that vision. Tim Lutkin's lighting is stunning, making their visual gags and metaphors, whilst also providing a gorgeous atmosphere for the show. The lighting become a strong technical element. Paul Groothuis's sound design is more subtle, providing the background noise of a busy New York neighbourhood, along with the echoing of "Unhappy", that resonates deeply. 

Paul Farnsworth's costumes are sure to be features in a museum or exhibition for they are simply divine. Working closely with Betty Marini (Wigs, Hair and Make Up), the ensemble are put through a rotation of costumes that continue to hypnotise the audiences with it's creativity and flair. Matthew Samer as Musical Director takes on the ambitious and bold score on with ease. Mel Brooks has provided a musical where every song is on an equal level. The songs, as catchy as they are, are ultimately hits due in large part to the lyrics. Unpredictable and wild, the lyrics are hilarious, highlighting Mel Brooks' desire to ensure that the musical is laced with comedy at every touch.

The Producers is a knock out hit, with surprises up its sleeves and sequences so wild that you could never even dream off. With a stellar cast, a perfect script, and a promise for a gay old time; it's a unique and frankly once in a lifetime sort of musical that has to be seen to be believed (and you still may not believe it).

The Producers is currently playing at the Garrick Theatre until 21st February 2026.

Tickets and More Information

★★★★★ (5*)

Gifted tickets in return for an honest review | Photography by Manuel Harlan