Of course, a “mega-hit” is the last thing the producers want in The Producers. It’s based on Brooks’ 1968 film starring Zero Mostel and Gene Wilder, transformed into the Broadway play starring Nathan Lane and Matthew Broderick. The story centers on Max Bialystock who has a recent history of Broadway busts, and the meek accountant Leo Bloom sent over to do his books who voices an amusing insight that a producer could make a huge profit by over-selling shares in a sure-to-bust Broadway show, as no one would expect their money back. Thus the plot is hatched, with Max talking the nervous Leo into partnering up, and the search for a sure-fire Broadway bust is born. And Springtime for Hitler, a musical written by a nutty fan of The Fuhrer, is discovered.

Discovered here are the two talents of Nicholas Guastella and Harrison Brian Fuchs as said Max and Leo. Nicholas even resembles Nathan Lane, and has a tremendous knack for the character, comedy, and vocal work. And he does have to do a lot of work to raise the money for their bust – mostly “charming” little old ladies out of their money. Though those little old ladies have more energy than he can handle, led by the rambunctious Hold Me-Touch Me (a hilarious Molly Goldberg determined to get her money’s worth). All of Nicholas’s talents come to bear as his life flashes before his eyes in a courthouse holding cell, with Max reliving the entire show (including the raffle drawing at intermission – which he wins).

As his sidekick, Harrison Brian Fuchs is a fantastic physical comedian with great instincts for the character who loves his security blanket very much, and who finds the inner strength to cast off his job as a bored public accountant with a dream to become an official Broadway producer (and a dream to have a big, old casting couch). Together they make a remarkable team, and stay in character no matter what’s going on. Even on closing night as the office door becomes unhinged, with Leo telling Max he’s going to need a lot of investors to fix the door, and Max coming back with a very Max-ish, PG-13 explanation as to why the wooden door couldn’t last past the morning.

Even without the burden of having to raise money for withering doors, several people will be needed to make all their schemes and dreams come true. The talented Julie Reed is ready and willing to help fulfill those dreams as Ulla, the over-the-top Swedish blond bombshell who applies for work with Max and Leo. And, of course, she gets hired, perhaps helped by her Ven You Got It, Flaunt It interview song-and-dance that leaves Max and Leo a couple of drooling, quivering, helpless masses. Then they need the playwright, with Matthew Ryan Hunter delivering the Hitler-phile in all his outrageous glory with impeccable comic timing and crazed eyes. Of course, it helps to have the worst director on Broadway taking over the show, so they convince the ultra-gay Roger De Bris to keep the story of Hitler light and…well…as gay as something called The Third Reich can be. Benjamin Kraiem plays it perfectly and gaily and with a flair for the dramatic as he sees Springtime for Hitler taking him to his destiny, and as he becomes the gayest Hitler ever. Brandon Alexander Zelman is a riot as Roger’s even gayer, and highly jealous, assistant Carmen Ghia who has a lisp with no end and an impressive flair for the dramatic himself (his exits from the stage are never quick, his hands or even his fingers lingering in view as long as possible, grasping at the spotlight, sometimes caressing the little curtain around the doorway).

Performs May 7-10, 2008.

Rob Hopper
Executive Director
National Youth Theatre

Max Bialystock: