OGDEN — I grew up watching all of Mel Brooks’ films with my father, so I’ve always had a soft spot for his work. When I saw that Ogden’s Ziegfeld Theater was staging The Producers, I knew I had to attend. This brilliant but rarely mounted show has only been reviewed once before by Utah Theatre Bloggers in 15 years—also by the Zig in 2014. With this revival, the Ziegfeld once again proves its ability to deliver professional-caliber productions. Under Jake Larrabee’s direction, this riotous, high-energy spectacle kept me in stitches from start to finish. The actors balance absurdity with impeccable comedic timing, making each joke land while maintaining the fast-paced momentum The Producers demands.

Mel Brooks once said, “If you’re quiet, you’re not living. You’ve got to be noisy and colorful and lively.” The Producers embodies all of those things, but it is not often produced in Utah due to its unapologetic satire. Since its Broadway debut in 2001, this adaptation of Brooks’ 1967 film has dazzled audiences with over-the-top humor, lavish musical numbers, and unforgettable characters. With a book by Brooks and Thomas Meehan and music and lyrics by Brooks, The Producers broke records by winning 12 Tony Awards. It tells the story of washed-up Broadway producer Max Bialystock and timid accountant Leo Bloom, who hatch a scheme to produce a guaranteed flop to pocket their investors’ money.

Ziegfeld Theater ; THE PRODUCERS ; 2025 ; Weber County ; Ogden

Show closes February 15th, 2025. Photo taken by Cory Waite.

The heart of the show lies in the chemistry between Bialystock and Bloom. Cameron Kapetanov, reprising his 2014 Zig role as Max, is a force of nature—larger-than-life and outrageously funny. Kapetanov’s physical comedy, commanding stage presence, and rapid-fire delivery make Max both lovable and riotous. A standout moment was his perfectly timed schtick of falling onto and over the couch. He tipped the couch over so believably I was worried it was an accident until I saw the hilarious Easter egg of giant granny panties hidden underneath. Kapetanov has a great singing voice that shines in “The King of Broadway” and “Betrayed,” with an impressive ability to tell the story so while singing.

Andy Conlin as Leo Bloom provides the perfect counterbalance to Kapetanov’s boisterous Max. Their chemistry is electric, especially in “We Can Do It.” Conlin’s neurotic energy and earnest charm make Leo’s transformation from a meek accountant to confident producer thoroughly engaging. “I Wanna Be a Producer” is a highlight, beginning with a subtle tap dance under his desk and building into a dazzling, show-stopping number complete with chorus girls in gold leotards and cash headdresses.

Eleanor J. Parks delivers a standout performance as Ulla, exuding confidence and charm. Parks’ “When You Got It, Flaunt It” showcases impressive vocals and dance moves. Notably, Bialystock and Bloom’s hilarious facial reactions to her performance added extra comedic flair.

Ziegfeld Theater ; THE PRODUCERS ; 2025 ; Weber County ; Ogden

Photo taken by Cory Waite.

Ryan Gorsline is brilliant as Franz Liebkind, the eccentric ex-Nazi playwright behind Springtime for Hitler. His imposing frame contrasts with his childlike glee in “Der Guten Tag Hop-Clop” before he morphs into a menacing figure threatening the producers. The contrast is delightfully over-the-top.

Paul Kipping’s portrayal of Roger DeBris defied expectations. The character Roger DeBris is a flamboyantly gay director that the producers hope will ruin the show. Initially, I questioned Larrabee’s casting of Kipping when he tromped on stage with the body frame of a linebacker with bulging biceps looking like they were about to split the seams of his floor-length gown. However, his performance won me over quickly. He has a beautiful tenor voice, and Larrabee’s direction used Kipping’s natural masculinity as an advantage. He turned moments like his flirtation with Bloom—complete with rippling pecs—into comedic gold. Troy Martell plays DeBris’ partner, Carmen Ghia, and is a perfect foil for Kipping by being very extra.

The ensemble behind these leads was fantastic all the way through, filling each scene with colorful characters, from dirty old ladies to stormtroopers. Their vocals were strong, and they executed Keely Parry’s well-leveled choreography with precision.

Beyond stellar performances, the production’s technical elements elevated the experience. Jake Larrabee’s projection design seamlessly integrated with Erica Choffel’s set, making it feel more elaborate. Details like Max’s office featuring a photo of Mel Brooks and posters of Blazing Saddles and Young Frankenstein were delightful touches.

Stephanie Colyar’s costume design contributed to the show’s visual splendor. The showgirl outfits in Leo’s dream sequence and Springtime for Hitler were particularly stunning with fun eye-catching details. Even the swastika armbands in the play-within-a-play were sequined to “make it gay.”

Ziegfeld Theater ; THE PRODUCERS ; 2025 ; Weber County ; Ogden

Photo taken by Cory Waite.

Keely Parry’s lighting design effectively used red and blue gels for dramatic emphasis, such as illuminating Leo’s feet as he dreams of a new life or casting Franz in an ominous red glow. A few scenes could have used some additional lighting on actors’ faces, particularly when Franz’s helmet cast shadows.

Sydney McAlister’s sound design was fantastic overall, with well-balanced music and microphones. A delightful Easter egg was the inclusion of Mel Brooks’ cameo line: “Don’t be stupid, be a smartie, come and join the Nazi party.” A minor issue arose with misplaced gunshot effects, but the actors recovered seamlessly.

As a longtime Mel Brooks fan, I knew I was the target audience, so I attended with a friend totally unfamiliar with the show. We both laughed the entire night. In today’s charged political climate, Brooks—a 98-year-old Jewish WWII veteran—reminds us that “humor is just another defense against the universe.” Due to its PG-13 humor, this show is for a more mature audience, but for theater lovers, The Producers at the Ziegfeld Theatre is a must-see. With a stellar cast, impeccable comedic timing, and solid design and direction, it’s a theatrical triumph.

 

 The Producers  plays Fridays, Saturdays, and Mondays at 7:30 PM and Saturday matinees at 2pm through February 15, 2025 at The Ziegfeld Theatre (3934 Washington Blvd, Ogden). Tickets are $22.95-26.95. There is an ASL interpretation night February 8th. For more information, visit www.zigarts.com