Review: The Producers

THAT’S IT!
Musical theatre in a fresh and high-quality way

Esko Roine is in action in the Helsinki City Theatre’s Hitler musical The Producers. Somehow, this reminds me of the words of actor Mikko Kivinen , with which he described the excellence of his older colleague Roine: “When he is, when he is.., so YOUNG!”
The name of the play refers to the producers, and that is exactly what the central character of the story, Max Bialystock, is, into whose skin Roine has effortlessly swam. Many celebrities who have already left their better days behind in the small country of Finland probably feel a love for Max. What has come with singing has gone with whistling. Debts weigh heavily. Something should be invented, but what?
As if as a gift from heaven, Max’s life is entered by an innocent young man, accountant Leo – Antti Timonen – whose accidental survival strategy immediately catches fire. A complete flop on Broadway could be a good solution in the long run, when accounting tricks are being planned.

In the hope of big money, the men, as a future producer duo, set out to chase the worst possible stage idea and its implementation team!
And is that where the fun comes from? You won’t guess. Let’s take a bag full of clichés and make a fuss. The journey from wealthy lovesick old women to swastikas seems too inventive at first glance. And it is. Downright overflowing fooling around!
You can and sometimes should do that, when you have the skill in both your fingers and your knuckles. The Helsinki City Theatre has not wasted its search time. Still, its readiness is surprising. The Producers is polished and glamorous musical theatre of international proportions. The big stage is happy to embrace everything that packs into it…

Neil Hardwick’s skills as a director are in full swing. There is joy and light, the right tempo, no dead spots. The reins have been both tight and loose in the right proportion. The whole consists of independent parts, for which the artists in charge have their own ambitions, but ultimately the exact functionality between the parts.
Starting with the translators – Kristiina Drews and Jukka Virtanen – there has been room for creativity. Jyrki Seppä’s bold, sometimes mammoth-like set design, which on the other hand feasts on small details, and Elina Kolehmainen’s fireworks-like, hilarious and charming costumes are the ground of visualisation in which acting, dancing and music are all good to settle into.

Markku Nenonen’s choreography is rich and original both in its styles and dance styles, which even included cheerful tap. But Nenonen’s trump card is a spectacular and high-quality dance troupe that can go into knots when needed – and definitely do it at the same time.
The theatre has had at its disposal the musical expertise of its chief conductor, Nick Davies , and under Davies’ conduct, the orchestra is giving its best.

The skills of farce acting are handsomely in the pockets of the entire cast, and both the soloists and the joint interpretations of the songs of the show music are excellently drawn.
Little did the renowned American film director, actor and composer Mel Brooks know when he was making Spring Is Coming for Hitler that he would be making a Broadway musical on the subject together with Thomas Meehan . And that it would only be a success in the 21st century. So I wonder if he could have guessed that the Finnish comedian Esko Roine would be such a good fit for Max.
But my own are the rascals in the north as well. Roine is a hunch-driven replicator, a mature actor in good shape who captivates his audience with his mere presence. Antti Timonen Leo is a flexible opponent and goes all in.

Risto Kaskilahti is also known to be quite a brother on stage, and now he is allowed to shoot without a hitch. Franz, the writer of the horribly bad play, who admires the Germans and especially Hitler, is like a rough caricature after Kaskilahti. Terribly funny.

Santeri Kinnunen as the narcissistic director Roger, who has no time to admire anyone but himself, makes a role that is as funny as it is glowing, and to polish it, his boyfriend Carmen – Lari Halme – squirms and shuttles just as irresistibly.

And as icing on the cake , especially to please the male viewers, let the beautiful young woman, Leo’s crush Ulla, Anna-Maija Tuokko, remain. When there is obvious talent, there is a lot of charisma in appearance, and there is no lack of charisma, then there are undoubtedly a lot of flowers to be expected along the art path that is still in its early stages. Wasn’t the role name Marilyn after all? The obligations of the latter name are familiar to the whole world.

Mel Brooks ‘ humor runs overboard. But is laughter watered down? No, it sharpens.