Mel Brooks’ The Producers continues its triumphant West End reign at the Garrick Theatre, but the arrival of Richard Kind as Max Bialystock brings a fresh spark of comic energy that makes this already riotous revival feel newly charged. Under Patrick Marber’s razor‑sharp direction, the production remains a gloriously unhinged celebration of musical theatre at its most anarchic, but Kind’s performance elevates it into an unmissable event.
British audiences have admired Kind on screen for years, yet nothing quite prepares you for seeing him command a stage like this. His Bialystock is a masterclass in comic timing, perfectly capturing the satire at the heart of the role. A single raised eyebrow, a fleeting grimace, even a shrug of the shoulders sends ripples of laughter across the room. It’s a sensational performance; full‑throttle, precise and endlessly inventive, reminding us why he is so revered in the world of comedy.
Kind has already developed remarkable chemistry with Marc Antolin’s Leo Bloom; together they feel like the West End’s newest must‑see double act. Antolin’s jittery charm and impeccable physical comedy remain a delight, and opposite Kind’s exuberant bombast, their partnership gains an even richer dynamic. Their scenes crackle with the kind of back‑and‑forth that feels lived‑in, as if they’ve been performing together for years.
Trevor Ashley once again steals scenes as the resplendently flamboyant Roger DeBris, while Raj Ghatak’s deliciously eccentric Carmen Ghia continues to be a crowd favourite. Harry Morrison, erratically funny and wildly unpredictable as Franz Liebkind, delivers two of the show’s standout moments with In Old Bavaria and Der Guten Tag Hop‑Clop.
Joanna Woodward shines as Ulla, her mix of comic clarity and vocal power as irresistible as ever. It’s the sheer charisma she brings to every entrance that lifts the energy of the entire production. Vocally, Woodward is outstanding, navigating Brooks’ numbers with both power and precision, and she brings a warmth to Ulla that makes the character far more than a punchline, though When You Got It, Flaunt It is a sparkling highlight.
Among the ensemble, Alex Lodge impresses in multiple roles, particularly as the Storm Trooper, bringing sharp character work and vocal confidence to every moment. The entire company delivers with gusto, whether in the show’s extravagant set‑pieces or its quieter, unexpectedly tender numbers.
Lorin Latarro’s choreography remains a joyous homage to Broadway spectacle, with the production’s big song‑and‑dance sequences landing with precision and gleeful excess. Yet it’s in the smaller moments; That Face and the heartfelt ’Til Him, that the revival reveals its emotional core, balancing its madcap humour with something surprisingly sincere.
Scott Pask’s clever design continues to expand the show beyond its Menier Chocolate Factory origins without losing any intimacy, perfectly matching the production’s chaotic charm. Everything feels meticulously tuned: outrageous where needed, understated where it counts, and always driven by Brooks’ unmistakable comic voice.
With Richard Kind now at its centre, The Producers has never felt more alive. Outrageous, audacious and endlessly funny, this West End revival remains a theatrical triumph, now with an added layer of brilliance from one of comedy’s true masters. For seven weeks only, London is treated to a Bialystock for the ages. Run to get a ticket before he’s gone.
Listings and ticket information can be found here
