Review: The Producers

As I was leaving The Producers at the Garrick Theatre, I heard a child say what perfectly described my feelings: “It went a bit too far—but I loved it!”

The cast of The Producers

This is the first West End revival of Mel Brooks’ beloved hit musical comedy about two Broadway producers who decide to produce a surefire flop in order to embezzle a fortune. They choose to premiere a terribly offensive musical which absurdly celebrates Hitler and the Third Reich, only for their plan to backfire spectacularly. This production is nearing the end of its run at the Garrick, where I was lucky to catch it earlier this week, after transferring last summer from the Menier Chocolate Factory. It is everything an audience would want out of this revival: splashy, faithful, and a never-ending stream of laughter, arriving at a time when laughter feels especially necessary, especially in the face of dictators. This is an ode to theatre, embracing all of its excess, spectacle, and glorious absurdity. From blink-and-you’ll-miss-it references to Chicago and other works of theatre to mentions of Sardi’s, Brooks fills the show with affectionate nods to the industry he loves.

Director Patrick Marber clearly understands Brooks’ comedic sensibilities, and his talents are evident throughout the production. He understands that this show cannot take itself seriously, or else it will lose its identity. Through delightful visual gags and hilarious physical comedy, he keeps the next laugh coming before the previous one has even died away. 

Andy Nyman as Max Bialystock

However, no script can function on its own without a cast that embraces it. Leading the company as Max Bialystock, the crooked producer who is in desperate need of a change in his luck, Andy Nyman is perhaps the most grounded presence of the show. While still just as absurd as most of the others, his character understands the stakes and, for the most part, feels surprisingly emotionally authentic. Opposite Max is Leo Bloom, an accountant-turned-producer, played at my performance by Alex Lodge (usually Mark Antolin). He is a nervous but sweet man who has never set a foot wrong before joining forces with Max. Lodge’s facial expressions were perfectly over the top, in exactly the way the character demands—unlike Max, Leo can be more overtly crazy. However, it’s in the moments they share that Nyman and Lodge shine brightest; they managed to capture a genuinely heartfelt moment during their duet “Til Him” that perfectly encapsulated their friendship.

Alex Lodge as Leo Bloom

The supporting cast around them is equally brilliant: Harry Morrison’s take on Franz Liebkind was outstanding, and he captivated the audience in every moment he was onstage. Esme Kennedy’s Ulla (usually played by Joanna Woodward) was equally wonderful. Her dancing was beautiful, while her vocals were equally impressive. My favorite part of her characterization, however, was her ‘Swedish’ accent. It was anything but Swedish, but it only added to her ridiculous character. True to the character, however, Trevor Ashley’s Roger DeBris steals the show. With his partner, Carmen Ghia (Matt Gillett, usually Raj Ghatak), the pair deliver some of the show’s funniest moments from the classic “Keep It Gay” to Roger’s turn in the “Springtime for Hitler” routine in Act Two. All of the aforementioned performers are supported by a busy ensemble, executing Lorin Latarro’s energetic, classic choreography.

The design is equally well done. Scott Pask’s set begins drab and sparse, but quickly fills the stage. The Garrick’s intimate stage helps the design feel full throughout, something many recent productions with scaled-back designs struggle to achieve. Additionally, Paul Groothuis’ sound design was brilliantly balanced. From my seat, every word was clear over the full orchestra.

The Producers at the Garrick Theatre

A clear theme of The Producers is “over-the-top comedy,” and the show would not function without it. Making light of such a dark time in history requires incredible tact and a dedication to overt insincerity in a way Mel Brooks mastered over his career. Of course, this show and its style of humor will not be for everyone. In an interview between Marber and Brooks in the programme, Brooks says that “comedy is always the better way to combat aggression,” and that is how The Producers handles one of history’s darkest chapters. This is a brilliantly faithful revival of one of the most beloved shows in history, and is sure to continue delighting audiences around the world for decades to come. 

4.5/5 stars

2 hours and 30 minutes, one interval

Garrick Theatre

Through September 19, 2026