As the producer of “The Producers” at the Merry-Go-Round Playhouse, Ed Sayles can realize the show the way he pleases.
Sam Tenney / The CitizenRay Arrucci and Geno Carr rehearse for the upcoming Merry-Go-Round Playhouse production of “The Producers” Wednesday afternoon. Arrucci and Carr star as Max Bialystock and Leo Bloom in the show, which opens Wednesday, July 23.
That means capturing the classic comedic tone of Mel Brooks' 1968 film - not mimicking the Broadway formula that relegates the leads to the straight and comedic roles of Matthew Broderick and Nathan Lane, respectively.
“There's a real element of early TV comedy in this, right out of ‘The Honeymooners,'” Sayles said. “(Brooks) came from that old school.”
Geno Carr and Ray Arrucci star as Leo Bloom and Max Bialystock, the titled roles pioneered by Gene Wilder and Zero Mostel in the original film, then revived by Broderick and Lane on Broadway and in the 2005 film.
“Gene Wilder's one of my comic heroes; he's absolutely hilarious,” Carr said. “I'm trying to capture the spirit and style of what he did.”
Bloom - a new accountant for failed producer Bialystock - posits that flopped shows could prove more lucrative than hits. To profit from this loophole of sorts, the two conceive a sure-misfire show in “Springtime for Hitler,” a romanticized musical about the reviled German dictator. Bloom and Bialystock see its staging through with a supporting cast of crazies, including the Nazi sympathizer who wrote the play, Franz Liebkind, cross-dressing director Roger De Bris and the producers' tempting Swedish secretary, Ulla.
The Playhouse incarnation of Brooks' film-turned-play will blend the best aspects of its previous forms. The musical numbers of the stage show will be performed at full strength, while the comedy will channel the original movie by showcasing the timing talents of both Carr and Arrucci.
“You never know where the craziness is going to come from,” Sayles said. “There are several scenes where they play tug-of-war.”
By living together during the rehearsal process, Carr and Arrucci were literally positioned to recreate the chemistry of Wilder and Mostel. They also credit the comic ingenuity of Brooks' writing for easing that process. Arrucci memorized the script several months in advance and Carr watched the first film repeatedly to prepare.
That script, though 40 years in age, still packs a politically incorrect punch that powers its humor. For Sayles, the curtain coming up to reveal 14 performers vying for the part of Adolf Hitler in “Springtime for Hitler” echoes the humor of his own experience evaluating headshots for the role in “The Producers.” But the target of the show's comedy extends far beyond the Fuhrer.
“Everyone gets it - Jews, Nazis, Irish, blacks, nuns and little old ladies,” Arrucci said. “Be ready to be offended and have a great time doing it.”
As Ulla, Bethany Moore steps into a role she's coveted since hearing “The Producers” on CD. To master Ulla's thick Swedish accent, Moore shadowed an acquaintance from the country and watched YouTube videos of Cady Huffman in the Broadway role.
“I'd much rather play the funny role than the 'tear your guts out' kind of role,” Moore said.
Scenes of Bloom and Bialystock trading banter are split between musical numbers that demand the largest chorus - 20 singers - the Playhouse has ever assembled in a production. Several sequences from “The Producers” have presented choreographer Lori Leshner with unusual challenges.
“What you think you can do in four hours, you need eight,” she said. “You have to move quickly.”
The 10 tall, well-dressed performers of “Opening Night” must quickly clear the way for an 11-person bevy of bums when “King of Broadway” follows to introduce Bialystock. “Springtime for Hitler” groups a folk dance, a showgirl section, tap and more mini-sequences when the fictional show-within-the-show premieres. Leshner's personal favorite, “Along Came Bialy,” requires her to precisely coordinate several performers as Bialystock woos elderly investors in his and Bloom's show.
“Everyone you see is doing something different,” Leshner said. “There's as much going on at the back of the stage as the front.”
A drastic departure from the vocal focus of “Les Miserables,” “The Producers” represents Sayles' diversified approach to programming at the playhouse. Unlike his fictional counterparts, Sayles hopes this show's run will result in houses full of happy audiences.
“It's an old-fashioned musical comedy,” Sayles said. “A splashy musical and great comedy.”
Staff writer David Wilcox can be reached at 253-5311 ext. 245 or david.wilcox@lee.net
If you go
What: “The Producers”
When: Opens at 7:30 p.m. Wednesday, July 23;
performances continue
through Friday, Aug. 15
Where: Merry-Go-Round
Playhouse, 6861 E. Lake Road, Owasco
Cost: $25 to $39
For tickets: Call 255-1785 or visit www.merry-go-round.com
“There's a real element of early TV comedy in this, right out of ‘The Honeymooners,'” Sayles said. “(Brooks) came from that old school.”
Geno Carr and Ray Arrucci star as Leo Bloom and Max Bialystock, the titled roles pioneered by Gene Wilder and Zero Mostel in the original film, then revived by Broderick and Lane on Broadway and in the 2005 film.
“Gene Wilder's one of my comic heroes; he's absolutely hilarious,” Carr said. “I'm trying to capture the spirit and style of what he did.”
Bloom - a new accountant for failed producer Bialystock - posits that flopped shows could prove more lucrative than hits. To profit from this loophole of sorts, the two conceive a sure-misfire show in “Springtime for Hitler,” a romanticized musical about the reviled German dictator. Bloom and Bialystock see its staging through with a supporting cast of crazies, including the Nazi sympathizer who wrote the play, Franz Liebkind, cross-dressing director Roger De Bris and the producers' tempting Swedish secretary, Ulla.
The Playhouse incarnation of Brooks' film-turned-play will blend the best aspects of its previous forms. The musical numbers of the stage show will be performed at full strength, while the comedy will channel the original movie by showcasing the timing talents of both Carr and Arrucci.
“You never know where the craziness is going to come from,” Sayles said. “There are several scenes where they play tug-of-war.”
By living together during the rehearsal process, Carr and Arrucci were literally positioned to recreate the chemistry of Wilder and Mostel. They also credit the comic ingenuity of Brooks' writing for easing that process. Arrucci memorized the script several months in advance and Carr watched the first film repeatedly to prepare.
That script, though 40 years in age, still packs a politically incorrect punch that powers its humor. For Sayles, the curtain coming up to reveal 14 performers vying for the part of Adolf Hitler in “Springtime for Hitler” echoes the humor of his own experience evaluating headshots for the role in “The Producers.” But the target of the show's comedy extends far beyond the Fuhrer.
“Everyone gets it - Jews, Nazis, Irish, blacks, nuns and little old ladies,” Arrucci said. “Be ready to be offended and have a great time doing it.”
As Ulla, Bethany Moore steps into a role she's coveted since hearing “The Producers” on CD. To master Ulla's thick Swedish accent, Moore shadowed an acquaintance from the country and watched YouTube videos of Cady Huffman in the Broadway role.
“I'd much rather play the funny role than the 'tear your guts out' kind of role,” Moore said.
Scenes of Bloom and Bialystock trading banter are split between musical numbers that demand the largest chorus - 20 singers - the Playhouse has ever assembled in a production. Several sequences from “The Producers” have presented choreographer Lori Leshner with unusual challenges.
“What you think you can do in four hours, you need eight,” she said. “You have to move quickly.”
The 10 tall, well-dressed performers of “Opening Night” must quickly clear the way for an 11-person bevy of bums when “King of Broadway” follows to introduce Bialystock. “Springtime for Hitler” groups a folk dance, a showgirl section, tap and more mini-sequences when the fictional show-within-the-show premieres. Leshner's personal favorite, “Along Came Bialy,” requires her to precisely coordinate several performers as Bialystock woos elderly investors in his and Bloom's show.
“Everyone you see is doing something different,” Leshner said. “There's as much going on at the back of the stage as the front.”
A drastic departure from the vocal focus of “Les Miserables,” “The Producers” represents Sayles' diversified approach to programming at the playhouse. Unlike his fictional counterparts, Sayles hopes this show's run will result in houses full of happy audiences.
“It's an old-fashioned musical comedy,” Sayles said. “A splashy musical and great comedy.”
Staff writer David Wilcox can be reached at 253-5311 ext. 245 or david.wilcox@lee.net
If you go
What: “The Producers”
When: Opens at 7:30 p.m. Wednesday, July 23;
performances continue
through Friday, Aug. 15
Where: Merry-Go-Round
Playhouse, 6861 E. Lake Road, Owasco
Cost: $25 to $39
For tickets: Call 255-1785 or visit www.merry-go-round.com
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