author: Andrew Worthington
Opening night! It’s opening night! *jazz hands*
The opening night of Phoenix Festival Theatre’s The Producers was met with a standing ovation from a packed house after hours of laughter and impressive performances. The cast, crew, and production team, including director John Desmone, music director Jarrett Rettman, and choreographer Leslie Perry, have a hit on their hands with a production that pays homage to the iconic performances of the 1967 Mel Brooks film, the 2001 Broadway run, and the 2005 movie musical of the same name.
Director John Desmone, a stalwart of the Maryland theatre scene, mentions his fondness of The Producers in the program, and his love and knowledge of this show are both clear from start to finish. Between the strong casting, the opportunities for many ensemble members to shine throughout the show, and the comedic timing and chemistry between the actors, it is clear that Desmone’s vision for The Producers was carried out in full. Leslie Perry’s recreation of original choreography was strong throughout and appropriately highlighted the strengths of the cast. With many different genres of music and dance throughout, Perry’s choreography and instruction met the needs of each song with standout moments in “I Wanna Be A Producer,” “Along Came Bialy,” and “Springtime For Hitler.” The cast did well under Jarrett Rettman’s musical direction with strong moments of harmony and effortless overlapping melodies throughout more challenging songs.
Alyssa Lytle’s set design works well with many functional, yet mobile, set pieces to bring the audience into the Bialystock & Bloom office, the townhouse of Roger De Bris, and even a Broadway stage. The clever use of multiple flies and curtains quickly takes us to the Shubert Theatre and allows for efficient scene changes throughout the show. The costumes by duo Joyce Kinzinger and Joyce Williamson were just as impressive as this massive cast was equally suited for 1950s New York and 1930s-40s Germany. Uniforms and flashy costumes amongst the ensemble were beautiful, particularly in “I Wanna Be a Producer” and “Springtime for Hitler” and quick costume changes were handled well. Stage Manager Malia Williamson and the backstage crew, along with the cast, handled many large set changes effectively and efficiently while keeping the show moving. Although there were a few awkward transitions throughout the show, the cast and crew were effective in handling them while not letting the energy dip as the show went on.
Lighting Designer Bill Price smartly uses light to focus the audience’s attention to specific parts of the stage and aids the massive scene changes with smart transitions. There are some truly beautiful moments in Price’s lighting design, including the jail cell in Bialystock’s “Betrayed” and in the final, silhouetted moment of the show. There were moments, however, where the stage was very dim overall, which led to soloists singing in the dark, projections washing out entire ensemble numbers, and a lack of visual interest or more dynamic shifts in larger, show-stopping numbers. With a wealth of resources in the brand new Chesapeake Theatre, more could have been done to add to the energy this show needs in larger and longer songs.
Sound balance was mostly great between soloists and accompaniment, but ensemble numbers lacked vocal energy and volume overall. There were moments, however, where Rettman’s work with the full cast was felt, like the end of Act I and “Goodbye” at the end of Act II. It is in these moments that the full cast, their love of the show, and their full sound are truly on display, and it shows what this cast can accomplish in other numbers where some vocal and physical energy were sometimes lacking.
Speaking of group numbers, The Producers is filled with many catchy and show-stopping songs, and Phoenix Festival Theatre’s production is filled with great group numbers mixed with individual standouts and cameos throughout. The ensemble does a great job singing and dancing whether they are playing a Broadway audience, depressed accountants, rich benefactors after Max’s attention, or German citizens. Some notable individual performances include Roger De Bris’ production team of costumer Kevin (Wayne Ivusich), choreographer Scott (Eric Donarski), set designer Bryan (Matt Perry), and lighting designer Shirley Markowitz (iconically performed by Jess Brockmeyer). The Old Ladies in “Along Came Bialy” were hilarious while in lockstep with walkers, and the tap dancing and singing in “I Wanna Be A Producer” was a true standout moment of the show.
The evening was chock-full of fantastic individual performances as well. Greg Quinn’s Franz Liebkind is wholly serious throughout the entire show, and it is his unwavering commitment that makes him seriously hilarious. Quinn strikes a balance between the humor and stiffness that the character demands, and he shines in songs like “Der Guten Tag Hop-Clop” and “Have You Ever”. Pyrrah Meadows is hilarious as Roger De Bris’ commonlaw… assistant, Carmen Ghia. Meadows shines in scenes with Roger but also holds her own throughout. Meadows’ introduction in the show, while answering the phone, was one of the funniest moments of the evening.
Codey Odachowski brings the big and brassy sound and energy as flamboyant Broadway director Roger De Bris. From his introduction before “Keep It Gay” through his character’s big chance as the title character in “Springtime for Hitler,” Odachowski brings a well-needed shot of zest, charisma, and humor to the entire show, and his performance was a highlight of the evening.
Although the script of The Producers leaves a bit to be desired when it comes to stage time for its leading lady, Ulla, Maggie Dennis shines in the role and takes advantage of every opportunity to flaunt the singing, acting, and dance talents she’s got. Dennis dazzles from the moment she enters the office of Bialystock & Bloom, and she wastes no time in bringing down the house while dancing and belting in her first number “When You’ve Got It, Flaunt It.”
The performances of Ryan Wagner and Mickey Orange as producers Max Bialystock and Leo Bloom are worth the price of admission alone. Mickey Orange is a true triple threat as the anxiously ambitious Leo Bloom. With unwavering physical comedy and quirky characterizations, a smooth crooning voice that soars when needed, and impressive tap dancing prowess, Orange brings life and energy to the character of Leo Bloom both in scene and song with standout moments in “I Wanna Be A Producer” and “That Face”. Ryan Wagner’s performance as Max Bialystock honors Nathan Lane’s original while making it wholly his own. Wagner’s comedic timing is impeccable, his character and hilarious expressions are unshakeable, and his singing is extraordinary throughout the marathon of scenes and songs. Wagner (thankfully) rarely leaves the stage, yet his comedic energy and vocal talents are on full display from the first moment through the last with standout moments in “King of Broadway” and “Betrayed”.
If you are looking for a wonderful evening of comedy, catchy and showstopping songs, and impressive individual performances, you will want to make your way over to Phoenix Festival Theatre’s thoroughly entertaining production of The Producers. After a strong opening night, it is clear that this production will not flop!
Running Time: Approximately 2 hours and 30 minutes with one intermission
The Producers plays through September 20th 2026 with Phoenix Festival Theatre in the Chesapeake Theater at Harford Community College— 401 Thomas Run Road in Bel Air, MD. For tickets call the box office at 443-412-2211 or purchase them in advance online.
