Bristol Riverside Theatre’s production of ‘The Producers’ will charm audiences through April 1
By Samantha Bambino
The Times
Bristol Riverside Theatre’s latest production will have you spontaneously humming about Hitler hours (and days) after the final curtain. Which isn’t a bad thing at all.
Arguably BRT’s best show of its 2017–18 season, The Producers, which runs through April 1, boasts two hours and 45 minutes of flawless comedic timing, flashy, Broadway-esque choreography and some of the most intricate set designs to ever grace its stage.
For those unfamiliar with the plotline penned by Mel Brooks for the 1967 film starring Zero Mostel and Gene Wilder, The Producers centers around scheming producer Max Bialystock and his mousy accountant Leo Bloom. Together, they discover that under the right circumstances they could make more money producing a flop than a hit, never anticipating that their sure-to-offend musical Springtime for Hitler would become a surprise sensation.
Starring as Bialystock is Danny Rutigliano, who is returning to BRT after his Barrymore nominated performance as Sancho Panza in Man of La Mancha and King Herod in last season’s critically acclaimed Jesus Christ Superstar.
Rutigliano perfectly executes the role of the washed up old producer who’s down on his luck. Though Bialystock’s morals are certainly questionable as a consistent stream of elderly women turn up at his office to partake in out-of-the-box role play scenarios (the milkmaid and the well-hung stable boy), Rutigliano maintains a fine line between corrupt and pitiful, leaving audiences no choice but to root for him.
On stage, Rutigliano has an undeniable, almost father-son chemistry with Michael Doherty, who is making his BRT debut as Leo Bloom, a timid accountant who dreams of leaving his 9 to 5 to become a Broadway producer. Throughout the entire production, Doherty is a charming ball of nervous energy as he showcases Bloom’s countless quirks, which include an unhealthy obsession with his childhood blue blanket.
The two actors play off of each other extremely well, especially when joined by the production’s ensemble of quirky characters. First up is Fred Inkley, who is making his BRT debut as Franz Liebkind, a former Nazi soldier. Liebkind is the creative mind behind Springtime for Hitler, the seemingly awful play Bialystock and Bloom choose to produce.
As Inkley begins singing the catchy “Der Guten Tag Hop Clop,” complete with coordinated knee slaps, the two reluctantly join in, sharing confused and alarmed facial expressions at what they’ve gotten themselves into.
Their “stuck-in-this-together” bond comes into play once again when the two call on the help of glitter ball gown-wearing director Roger De Bris, played by Danny Vaccaro, who was recently seen in BRT’s Time Stands Still. De Bris’ home is reminiscent of what we can only imagine the Village People’s dressing room to look like, with staff wearing Cherokee Indian and police costumes. Cue more confused looks between Bialystock and Bloom.
An absolute standout in the ensemble is Morgan Reynolds, who shines as De Bris’ assistant, Carmen Ghia. Despite his small stature, Reynolds knocks this role out of the park with his sassy walk, over-the-top flamboyant personality and stunning voice, which effortlessly reaches some of the highest notes heard in the show.
Another vocal standout is Nicole Benoit, who plays the sultry, Swedish secretary Ulla. Benoit exudes a larger-than-life stage presence as she shakes, kicks and twirls across the stage while belting out “When You’ve Got It, Flaunt It.” Like Rutigliano and Doherty, Benoit’s comedic timing is on point. The second act opens with her finishing a makeover of Bialystock and Bloom’s office. When they ask her when she had time to do everything, she says, “Intermission!” without missing a beat.
This talented cast of actors had a large hand in making The Producers BRT’s standout production of the season. But the high quality of the finished product wouldn’t have been possible without those working behind the scenes. Together, choreographer Stephen Casey, set designer Charles Morgan, costume designer Linda Bee Stockton, lighting designer Ryan O’Gara and sound designer Liz Atkinson helped transport audiences into the glitzy world of Bialystock and Bloom.
From the intricate, hidden display in Bialystock’s office that held pictures of all his elderly lovers, to the exquisitely detailed costumes in the show stopping number “Springtime for Hitler,” to the animated, singing pigeons that Liebkind called his friends, every detail in BRT’s The Producers was well thought out and executed, right down to the final curtain.
BRT’s season will continue on May 1 with its fifth production, Triumph of Love. Until the musical’s 18th century-inspired love songs come to town, audiences must learn to live with the infectiously catchy “Der Guten Tag Hop Clop” stuck in their heads.
Performances of The Producers run Wednesday through Sunday until April 1. Tickets start at $45, with discounts for students, groups and military personnel. Tickets are available by visiting brtstage.org or calling the box office at 215–785–0100. Bristol Riverside Theatre is located at 120 Radcliffe St. in Bristol. ••
Samantha Bambino can be reached at sbambino@newspapermediagroup.com
