Well produced 'Producers'

When you let yourself be cajoled into seeing a friend’s amateur dramatic performance, you usually prepare yourself for the awkward after show questioning. ‘‘Well, what did you think? Did you like it?’’ 

This past weekend, I headed to see the Maidstone Amateur Operatic Society perform one of my all-time favourite films/musical/ musical films of all time, The Producers by Mel Brooks.

As the programme states it is a ‘serious contender for most non-PC mainstream production ever’.

It requires a male heavy cast, which in my own experience has proven to be particularly difficult in the professional industry, let alone, the amateur side.

Not only was I anxious about the bold choice of performing a highly controversial show, I was also intrigued as to how the cast would handle the irrational actions and reactions demanded by the script. Again, only within my experience, this usually descends past farce with each actor breaking the forth wall and hamming up for a bigger laugh or a scene stealing moment.

I need not have worried.

The show eliminated my need to come up with rehearsed niceties.

The cast came together excellently and genuinely gave their all into a show which expects nothing else.

The farcical script is cleverly crafted. It’s a sideswipe at the manipulative world of show business and serves as a reminder that nothing is above being satirised.

Our lead, Max Bialystock, was portrayed by Chris Chedzey, who quickly and comfortably eased us into the world of The Producers. As a fan of Nathan Lane, original Broadway and motion picture cast, I quickly drew parallels. I can only assume that Chris is also a fan. There was more than one occasion where I found myself comparing his performance to the one I’d heard many times before.

Max’s methods have to be instantly dislikeable whilst the character has to endear himself to the audience. We know his methods are flawed but we all seem to wish him well and even empathise with his behaviour.

This role would be difficult for any actor to pull off and the challenge was expertly met by Chris. His timing was first class, his accent unfaultable and his understanding of the character impeccable. There was a hint of Lane’s portrayal but Chris gave enough of his own originality to the role to dismiss any comparisons as merely homage to the original.

Leo Bloom dreams that his mundane life will be replaced by that which he secretly desires but never dare chase, a Broadway producer. This performance came in the guise of David Amos. After reading the programme, I discovered that this was David’s first musical outside of his school background. Leo is quiet, unsure & timid and whether those on show were an interpretation of a character or just David’s own nerves remains to be seen. All I can tell you is that I was unconvinced about his performance to begin with but fully converted at its conclusion. His spoken vocals and accent were, again. flawless.

Every now and again, amid these strong lead performances, you were catapulted back into the Am Dram world.

Leo was an early but not exclusive culprit of, searched for but never found, bum notes. In my book, this is unforgivable. There are many ways around this but unfortunately these slips were left in. A 'flat' or, more correctly sharp, note, when held and amplified through the house P.A is very noticeable. However this is forgotten as quickly as it arrives.

My one outstanding memory was the collective professionalism of the cast. Not one of them was playing for laughs; no one person was trying to upstage another. The forth wall was breached on few occasions and only when the script dictated and no more. They all remained loyal to the excellent script they had agreed to retell.

To the cast & crew: You should be very proud of your achievement. Please take any criticism as one person’s opinion; this is all it will ever be.

Please keep up your commitment & involvement to the arts, I, for one, will be singing your praises.