Here’s another thing that’s been re-afforded to me by the new job: the freedom (both financially and schedule-y) to watch stage productions. Don’t get me wrong, I was able to watch plays before but because of the whole night shift thing, it took a lot of effort and preparation to schedule those types of trips. I’m ashamed to say that the only show I’ve caught this year (prior to the job shift) was Resorts World’s The King and I,which was fantastic even though we didn’t catch the Monique Wilson run.

I’ve only been here a little over two months and already seen two: Atlantis Productions’ Grease and Repertory Philippines’ The Producers. After a few mishaps in getting the tickets, Raydon and I were able to book a couple of seats for the show last Friday night.

Directed by Jaime del Mundo (Shakespeare in Hollywood, Peter Pan), the show truly was all that jazz and more! I’ve seen the movie and have listened to the OBC soundtrack (so much that I’ve developed an unhealthy obsession with Nathan Lane) that I know, I know, just how ridiculous it can get. While I did not doubt that Repertory Philippines will give an upbeat staging (I’ve seen their 2009 production of Sweeney Todd; I am already a believer), I was still left in awe at just how much energy the cast had. I mean, the leads were drenched in sweat (and in Topher Fabregas’ case, a vase full of water) by the time they got to the fourth song.

The Producers is about a washed up and not just a little crooked Broadway producer Max Bialystock (we saw Robby Zialcita but he’s alternated by Carlo Orosa) who coerces spineless and cowardly accountant Leo Bloom (Topher Fabregas) into a con that Bloom himself unwittingly came up with while straightening out the books (“You can make more money with a flop than with a hit”). The musical sails through the duo’s adventures in finding the “worst play ever written” and hiring a director who “couldn’t even direct you to the bathroom”. Add Joel Trinidad’s Franz Liebkind, the crazed Nazi playwright, to the incredibly gay duo that is Noel Rayos’ Carmen Ghia and Audie Gemora’s (alternated by Noel Trinidad) Roger De Bris and you have the makings of the very definition of a screwball comedy. Throw in to that mix G Toengi’s ditzy Ulla (I’d type out the full name but I’d run out of space) and an ensemble of extremely talented youngsters who (I don’t think) bears any shame, and you have a very fantastic show.

It may be because we saw the show on its final week but I really commend the actors for having the timing down pat. Punch lines were delivered on cue and the actors were so clearly having a good time that it was impossible not have fun with them. This is Zialcita’s (Pirelli in the Sweeney Todd production) first time to play the lead and even though he’s no Nathan Lane (let’s face it, no one but Nathan Lane is Nathan Lane), he still gives a very memorable performance. Opposite him is Fabregas (Boeing Boeing) who definitely has the innocence and sincerity needed for Leo Bloom. I’m not the biggest fan of his voice but you do get over it when you see the watery eyes. G Toengi was a good choice for Ulla because one, she’s beautiful as hell and two, she has that coy look and smirk down pat. Vocally not as strong as the other theatre folks (understandable, this is her first show) but she’s a good dancer and a great actress. And I seriously did not recognize Trinidad (Avenue Q) under the Nazi cap which is probably testament in itself to this man’s talent with performing with different voices. Of course no words are needed to describe the sheer fabulousness of Audie Gemora (Audie fucking Gemora!) especially now that he’s playing a flamboyant-yet-still-technically-inside-the-closet gay director, complimented beautifully by Rayos (as DeBris’ common law assistant)’s signature twirls.
All in all it was a fantastic show and I pity anybody who didn’t get the chance to see it. Raydon and I literally were speechless when we were walking out of the theatre. For me this is the very definition of a musical – loud and out there and very, very ridiculous. We take life too seriously already and The Producers was a great reprieve from reality.