SALT LAKE CITY — The Grand is fearlessly tackling The Producers, with music and Lyrics by Mel Brooks, book by Mel Brooks and Thomas Meehan, and original direction and choreography by Susan Stroman. Originally written as a film in 1967, it was adapted as a musical for the stage in 2001 before being turned into a film of the musical in 2005. The satirical musical about show business has had quite a lifespan.
The Producers is the story of a failing New York Theater Producer, Max Bialystock and his accountant – a wannabee producing partner – Leo Bloom as they scheme to pocket money invested in a musical that turns into an intentional flop. By attempting to put together the worst play possible, a musical celebrating the third reich called Springtime for Hitler, in order to ensure it fails at the box office. The show’s edgy and provocative humor pushes the boundaries of offense, leaning into taboo stereotype and awkwardness to milk the comedy in the ways Brooks is known for. It takes some chutzpah and just the right directing hand to pull it off well. Although the Grand’s production doesn’t add much reinterpretation to the well-loved film, it excels at finding just the right comedic balance to keep it fresh.
The Grand Theatre lives up to its name. Housed in the historical and grand old South High School (now a Salt Lake Community College campus), the ornate auditorium and stage are spacious. Stroman has plenty of room to fill with large dance numbers and even larger personalities. Upon entrance, the initial scenic design by Cara Ann Pomeroy is striking.
The vast space is mostly black with a twinkling starlit night sky scrim at the far back of the stage. Lighted signs are suspended across the center left announcing timeless musical hits, drawing focus to a set of theatre doors at right with a lighted marquis announcing the opening night of “Funny Boy”, a musical adaptation of Hamlet. Stroman’s ability to narrow the focus of the large with set pieces is extremely useful in the large space.
The biggest struggle of the production however, is also the set. The sets are large, detailed, but composed of cumbersome pieces. Max’s office in particular take too long to move and scene transitions are often awkward and lengthy, slowing the momentum of the production. There are moments of simple, and overlapping transition that work really well, such as when the accounting office disappears for Leo’s dream producer sequence, only to re-coalesce around him to finish the scene. More transitions like that, and fewer bulky and cumbersome changes, and perhaps leaving some things to audience imagination would serve the production better.
The sound, by Joe Killian, was also intermittently problematic, with microphone balance issues, such as when Max (played by BJ Whimpey) is drowned out by the chorus in the opening number, and microphones coming in late, or not at all. Likely, these are issues that will be worked out as the run progresses, but the performance I witness had many dropped moments.
Props by Maire Nelligan are generally delightful, though one key comedic moment is lost with the choice to pantomime the dousing of Leo (played by Luke Gonzalez) with water. The line “Now I’m wet and hysterical!” falls flat under a fake dousing that could be remedied by a small amount of actual water. By contrast, the integration of pigeon puppets for Franz’s rooftop scene is “uber alles”. The pigeon chorus is comedy gold. There are also nice moments by lighting designer Josh Martin, particularly when the back cyc is in a bright pink, backlighting the cast in silhouette as in “Prisoners Of Love.”
Costumes by Shannon McCullock are delightful. There are countless costume changes, increasingly ridiculous, culminating in the Nazi chorus line ensembles in the musical within the musical. From dancers decked out in beer, pretzel and awkwardly placed bratwurst costumes, to glitzy Nazi uniforms replete with swastika bedazzled garters and a full-body Nazi Party Eagle outfit, the costumes garnered their own well-deserved laughs and praise.
Stroman’s choreography is superb and packed with comedic excellence. In particular, “Keep It Gay”, in all its flamboyant glory, and strong dancing from the Along Came Bialy Walker brigade. The show’s major number, Springtime for Hitler was also exceptionally tight in choreography and very funny. Stroman adeptly uses all of the large space and dance skill of the cast to great effect.
The strength the production is the cast. Whimpey’s Bialystock is larger than life, and fills the stage with his presence and vocals. Gonzalez’s Leo is endearing and has an excellent voice. McKenna Walwyn as Ulla has great comic presence that, having seen her recently in deeply serious Shakespearean roles, her “vava-voom” Ulla is surprising and a testament to her skill. Skylar Hawker’s Franz is aggressively endearing in his addled adulation of the Fuhrer, doing great justice to the comic role.
Doug Williams as Roger De Bris, and last minute starring role as a flamboyant Hitler is excellent. Small exaggerated details like the double scoot forward to the edge of the stage in the Heil Myself section of Springtime For Hitler, add an extra dose of hilarity. Andrew Reeser as Carmen Ghia, De Bris’s “Common Law Assistant” is a tribute to the art of the comic supporting role. His physical commitment to the character is admirable, from every overtly suave movement to his magnetic manifestation of his undying devotion to Roger, I couldn’t take my eyes off of him. The ensemble is strong all around, bringing excellent vocals, dance and a general cohesive energy. A stand out vocally is Trevor Blair, who’s solo in “Springtime for Hitler” is quite lovely.
Although the company has been producing since 1990, I feel like The Grand Theatre is an oft-overlooked gem, overshadowed by larger theatres in the area. But at an affordable ticket price, with high quality productions mounted at a magnificent historical venue, it shouldn’t be overlooked. Whether you haven’t been to the Grand before, or are a regular, The Producers is a delightfully entertaining evening.
MORE INFO: The Producers is currently playing at The Grand Theatre (1575 South State Street, Salt Lake City, UT 84115) as part of The Grand Theatre’s Musical Mainstage season. With book by Mel Brooks and Thomas Meehan and music and lyrics by Mel Brooks, the musical runs May 21 through June 13, 2026. Performances are held Thursday through Saturday at 7:30 PM, with Saturday matinees at 2:00 PM. Tickets are listed around $30–$37. For the most up-to-date schedule, performance details, and official ticketing, visit The Grand Theatre website: https://grandtheatrecompany.com/ or email grandtheatre@slcc.edu