AMATEUR THEATRE REVIEW: The Producers - The Champness Hall, Rochdale.

It has been a while since I last saw a production from Rochdale Musical Theatre Company; both the pandemic and a change in their venue from The Gracie Fields Theatre to their new home, The Champness Hall in the centre of the town, have happened in the interim. 

'The Producers' is a wonderful musical - as long as you are a fan of the comedy style of Mel Brooks that is. His self-effacing acerbic Jewish humour abounds in all his creations, and none more so than here. Originally a film, this musical follows the same storyline, with the same characters, and so, even if you didn't know it was a musical, but know the film... it's still the same. A failing Broadway producer very much in debt and down on his heels, hounded by the IRS, coerces a naive and neurotic tax inspector to leave his employ and join forces with him to create a Broadway flop... having discerned that producing a sure-fire flop would earn more money than a hit. In order to do this the producer raises the money by allowing sexual favours to lots of horny old ladies, and hiring the worst director for the worst play ever written. It doesn't take a genius to work out that two negatives always make a plus, and instead of a flop, they have the biggest overnight hit Broadway has ever seen!

The Champness Hall - I don't know it's history - seems much more suited to a religious service or a classical music concert than being used as a theatre. The 'stage' is more of a podium on several levels high above a flat central hall, with a balcony on three sides of this auditorium. No curtains and 'backstage' must obviously be in another room away from the proceedings on stage and therefore needs masking. What this does mean therefore is that any director must be able to 'think outside the box', and find ways around this unusual configuration. Jess Bray, the show's director here, came up with a compromise between traditional stage flats either side and imaginative and clever use of the central levels. The flats however were somewhat cumbersome to move and unsteady when in place, rattling and swaying each time a cast member entered through the door. I did enjoy the use of three video screens placed at differing levels on the rear curtain which gave each scene a definite sense of place (thanks to the modern phenomenon known as the internet). Her character and narrative direction was superb, the arc of the show pacey and signposted skillfully, as well as finding moments of subtle comedy not normally found in a show this brash and in-your-face!

Musical Direction (Chris Addington) was secure and solid all evening, with the band (away to one side of the auditorium) sounding extremely proficient. The sound levels were not correct though sadly, as we were receiving too much bass and reverb through the speakers. Whilst Nikki Cooke's choreography was safe and apt. The showstopping showpiece of this musical is undeniably (and quite rightly so) the 'Springtime For Hitler' sequence, and here, it all came together perfectly. The different use of the stage's levels creating nice pictures and groupings; whilst the singing, especially the harmonies, sounded lush.

I would defy any society to find a better cast of principals! Mike Wignall's Max Bialystock was although perhaps not Jewish enough, this hardly mattered one jot, as his personality and his full-throttle performance was compelling. Zac Grenier's Leo Bloom, again, not Jewish enough perhaps, but creating the perfect comedic foil for Bialystock, and again totally committed and together they made a commanding and enigmatic double-act with punch! Not one of their throw-aways was missed.

Aiding and abetting them this evening were Annabelle Taylor, playing the sexy Sweish seductress, Ulla. Again, it mattered not one jot that her accent was far from Swedish, she played the part for all it was worth, and we enjoyed watching Bialystock and Bloom sweat and battle over her. Ben Maguire was a totally over-the-top un-German latent Nazi hiding out in New York with his flock of pigeons, obviously relishing his comedy role. Michael Twigg's totally camp and overtly gay Carmen was a joy as he minced around the stage again enjoying every second. However, for me, the award for Best Actor In A Supporting Role, simply has to go to Josh Hindle as Roger. His character was centred and earthed at all times, and yet was outrageous too. Totally believeable whether wearing a ball gown and ridiculous wig, or appearing as Adolf Hitler! A superbly measured, nuanced performance.  

The company completed with an ensemble and chorus, singing and dancing throughout. As already stated, the singing was of a very high standard from all, and I especially enjoyed the harmonies. Costuming was excellent throughout, and the lighting, although somewhat minimalist (perhaps due to the constrains of the venue) worked well and was always on cue. It was a pity that the sound levels were set too high generally, and the scene changes were a little overlong at times; but otherwise this was a highly proficient, truly thrilling and enjoyable production of which the society should rightly be very proud. 

Reviewer - Matthew Dougall
on - 20.5.22