What did Lewis say to Clark 
when everything looked bleak? 
What did Sir Edmund say to Tenzing 
as they struggled toward Everest’s peak? 
What did Washington say to his troops 
as they crossed the Delaware? 
I’m sure you’re well aware …

Always a joy to be present at a Tinker’s Farm production and my outing to see The Producers was no exception. There is so much bad taste in this Mel Brooks musical, it’s wrong every way you look at it. Yet it is so brilliant. Blimey, it was controversial when the original film was released in 1967, so heaven knows how it survives a woke culture of the 2020s. Fortunately, it has, and audiences still enjoy this funny, well-written romp by Brooks (aided with the book by Thomas Meehan).

The plot: Failed Broadway Producer, Max Bialystock is persuaded by accountant, Leo Bloom that they could make more money from a flop than a success. Therefore, they choose a script about Hitler and the Third Reich and put it on Broadway. Now, I don’t know if it happened this time, but I have heard that folks have left during the interval in the past with this show, even before Springtime for Hitler. And that’s a shame because if people would accept it for the tongue-in-cheek farce that it is, they would see a great show.

In the role of Max was Daniel Cox who looked like he was born to play this role and excelled in all areas. However, it is Betrayed which is the solo of all solos that topped a marvelous performance. Equally good as Leo we had Richard Cooper who also nailed the part as written. I Wanna to be a Producer was superb. Also excellent and playing Ulla was Rebecca Bate who doesn’t enter until near the interval but at once makes a mark with When You’ve Got it, Flaunt It.

Normally I would have a dream of playing one character from a show but in The Producers, there is so much choice. Any of the following would fit the bill. As Liebkind we had Matthew Morgan and Der Gutten Tag Hop-Clop is as poor taste as they come, but it is so funny. Then you have the wonderful duo of Roger De Bris (Tom Bowes) and Carmen Ghia (Tyrone Howell). Again, totally as written in all the stereotypical glory that makes this show great. These are my favourite characters and led an extravagant rendition of Keep it Gay, which simply got bigger and bigger, eventually spilling into the audience. Completing the principals in fine send-up fashion was Dianne Hingley as Hold-Me Touch-Me, one of Max’s ageing backers.

This show is full of top-notch tunes in addition to those already mentioned. I have a fondness for We Can Do It, having performed it myself but the pinnacle of bad taste is Springtime for Hitler, and you must wonder how Mel Brooks got away with it all those years ago.

The Producers was directed and choreographed by Emma Harley with musical direction from Tim Harding and both can be well satisfied with the results. I must also credit the impressive costumes and excellent sound and lighting from Going Dark while not forgetting the slick stage crew who managed a good set. This must be difficult to work, especially as you need two versions of Max’s office, pre and post Ulla (No spoilers).

There was not one weak area in this production; cast or crew, and it was of the highest professional standards. Be sure to check out Tinkers Farm Operatic, for they are a gem of the Midlands theatre scene.

Cheers.

Antony N Britt

*Photos taken from social media and may not be from the actual performance attended.