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  The Producers Reviews
The Producers
The Producers

The Producers
Celebration Theatre
Thru - Aug 26, 2019

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Celebration Theatre

  • Highly Recommended
  • Recommended
  • Somewhat Recommended
  • Not Recommended

Los Angeles Times- Somewhat Recommended

"...The big problem, though, is that Matthews and his actors have little aptitude for the Brooks style of comedy. Instead of full-body, explosive-emotion gags, we get merely a wide-eyed Bloom and a loud Bialystock, both racing through the funny business (although Jones does deliver some effectively bull-charging Bialystock moments)."
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Daryl H. Miller



Broadway World- Highly Recommended

"...From top to bottom, the entire production was first class, perfectly cast with triple-threaters, going all out in production values as well."
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Valerie-Jean Miller



Stage and Cinema- Highly Recommended

"...If there is a better time to be had in any theater in Los Angeles, lead me to it. But I'm betting it's a much better idea to see The Producers twice."
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Harvey Perr



LA Splash- Highly Recommended

"...THE PRODUCERS is an uproarious, utterly ridiculous look at the inner workings of Broadway. The play pokes fun at everything and anything with nonsensical accents, caricatures of homosexuals and Nazis, physical humor coupled with clever lines. In a word, nothing is sacred in Brooks' hilarious comedy. Kudos to everyone involved in the production, including director Michael Matthews, music director Anthony Zediker, live band members (Leigh Anne Gillespie, Chris Payne, and Phil Moore), choreographer Janet Roston, costume designer E. B. Brooks, the entire production team, and - last but not least - a terrific ensemble cast with the energy, joie de vivre, and enthusiasm to keep up the rollicking pace to the last note. Special congratulations to Richardson Jones and Christopher Jewell Valentin, who are onstage almost throughout. The Celebration Theatre's latest production, THE PRODUCERS, is one of their best."
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Elaine Mura



Stage Scene LA- Highly Recommended

"...Leave it to Celebration Theatre to take a musical as mammoth as The Producers and scale it down to fit the LGBTQ company's 47-seat Hollywood digs without losing an iota of its audience appeal. Indeed, the show still officially billed as "A New Mel Brooks Musical" may be even more exciting at Celebration in 2019 than when it made its 2001 Broadway debut."
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Steven Stanley



The Los Angeles Post- Recommended

"...As for the cast, again it's Celebration, so everyone is at least good. If I had to pick favorites, they would be Michael A. Shepperd as Roger De Bris, Andrew Diego as Carmen Ghia, and John Colella as Franz Liebkind, who all understand that "big" and "loud" aren't necessarily the same, and who all possess that glint of madness in the eyes which causes an audience to wonder, with delight and trepidation, what on earth they might do next."
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Dan Berkowitz



Showmag- Recommended

"...Though the often politically incorrect situations and dialogue might cause some to question this parody, it is as fresh and funny as ever, partly due to the relentlessly fiendish delight of the director and actors. Finding comedy these days that can bring forth belly laughs and be outrageous without editorial comment is a tough task. Thankfully, the folks at the Celebration embrace their mission to present high quality work that perpetuates the goals of small theaters in L.A."
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Melinda Schupmann



Stage Raw- Somewhat Recommended

"...The best performances come from among the supporting ensemble: a flawlessly calibrated Andrew Diego as the swishing, simpering secretary/lover of Springtime for Hitler's inept director (Michael A. Shepperd), and John Collela, in a cameo as a nasty capitalist, and in the more substantial role of the lunatic playwright and fan of Hitler who's written the script that propels Bialystock and Bloom to their damning success. Evan Borboa scores in a variety of small parts, while the topnotch chorus of dancers (Jasmine Ejan, Angeline Mirenda, Sarah Mullis and Brittany Bentley) spread their joy freely to a smiling, appreciative audience."
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Deborah Klugman