Mullingar Musical Society delivers theatrical mayhem with The Producers

Review, by Thomas Lyons

Just before the end of Act One of The Producers protagonists Max Bialystock and Leo Bloom undertake a despairing evaluation of the reviews of their play and ponder where everything went right.

It's not inconceivable that life may have imitated art as actors Daniel Egerton and Sam Gilmartin looked back on their four night run of the show.

The ephemeral nature of amateur dramatic productions means that months of diligent work evaporate over a few nights, but what Mullingar Musical Society left behind after staging The Producers will endure.

The Producers is a subversive satirical comedy; risqué and outrageous, populated by larger-than-life characters to tell a story that could only have come from the mind of Mel Brooks.

It follows the misadventures of Max Bialystock (Daniel Egerton), a theatrical producer whose ineptitude is the stuff of legends. Max has the good fortune, perhaps, to encounter Leo Bloom (Sam Gilmartin), and the dream of creating the worst musical ever is born.

It's also got a massive cast; a Swedish blond bombshell, a gaggle of wealthy widows, a flamboyant director and his live-in-assistant and of course the Nazis.

Make no mistake this is a difficult piece of work to pull off. Not simply because of the unhinged Nazi musical storyline, (“don't be stupid, be a smarty, come on join the Nazi party”), or the copious self references, or even the trespasses beyond the fourth wall.

The most essential component to make The Producers work is talent. At some point the executive chamber of Mullingar Musical Society clearly decided to do this particular show specifically because it was difficult.

It is one thing to take on a show of this complexity, it's another thing to deliver. Even with the remarkable set design, the lush lighting, the stylish choreography and the professional standard musical direction it's still possible for this particular musical to fall flat.

In presenting a high energy, meticulously paced and riotously funny delivery Mullingar Musical Society lived up to the ancillary components that made this show a masterpiece. One of the things that make this production magnificent is the interplay between Egerton and Gilmartin.

Call it chemistry, or trust or psychic resonance; the outcome is the same. Two actors, enjoying working together on something they clearly love.

For his part Egerton channels the spirit of Zero Mostel; he's got the exaggerated facial expressions, the wild eyes and the slouching poise that ooze humour. He's as funny in repose as he is tweaking the audience's nose through the fourth wall.

Gilmartin is the high-strung straight man, or as fitting as that description can be for anyone in a Brooks role. It's not counterpoint, Bloom is just as absurd as Bialystock, just in a different way.

The wonderful Isabelle McComesky brings Ulla Inga Hansen Benson Yonsen Tallen-Hallen Svaden-Svanson to life. The portrayal is a pitch perfect blend of elegance and ditsy. At a guess Greg Dunne is a local favourite and his portrayal of Franz Liebkind proved very popular, as did James Elliffe (Carmen Ghia) and Garry Nolan (Roger DeBris). This was the quintessence of an ensemble piece. The strength of the acting, acting in very demanding roles, was breathtaking.

One last nod has to go to costuming. From the high kicking widows to Ulla as the Bavarian eagle the wardrobe for The Producers was a study in how colour and form guild a production.

On a final note: The Friday night audience that packed out the Mullingar Arts Centre were what most performers dream of. Boisterous and appreciative when appropriate and attentive when necessary. They were the cherry on top of a delightfully rich treat.