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The Producers 2001 Original Broadway Cast

Cast Recording

Mel Brooks (Composer), Patrick S. Brady (Conductor), Matthew Broderick (Performer), Format: Audio CD

4.7 194 ratings

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Track Listings

1	Overture - The Producers Orchestra
2	Opening Night - The Producers Ensemble
3	The King of Broadway - The Producers Ensemble
4	We Can Do It - Nathan Lane
5	I Wanna Be a Producer - The Producers Ensemble
6	In Old Bavaria - Brad Oscar
7	Der Guten Tag Hop-Clop - Nathan Lane
8	Keep It Gay - Roger Bart
9	When You Got It, Flaunt It - Nathan Lane
10	Along Came Bialy - The Producers Ensemble
11	That Face - Matthew Broderick
12	Haben Sie gehört das Deutsche band? - Brad Oscar
13	Opening Night - Jennifer Smith
14	You Never Say Good Luck on Opening Night - Roger Bart
15	Springtime for Hitler/ Heil Myself - The Producers Ensemble
16	Where Did We Go Right? - Nathan Lane
17	Betrayed - Nathan Lane
18	'Til Him - The Producers Ensemble
19	Prisoners of Love - The Producers Ensemble
20	Goodbye! - The Producers Ensemble

Editorial Reviews

Product description

Producers ~ Broadway Cast

Amazon.com

The Producers was the vehicle that first proclaimed Mel Brooks's decidedly singular comic vision as a film director in 1968. At the time, the world may not have been entirely ready for the depth charges of hilarity he unleashed; but more than three decades later, it seemed almost foreordained that the film's retooling as a full-fledged musical--directed and choreographed by Susan Stroman--would become the smash hit of the 2000-2001 Broadway season (even before opening at the St. James Theatre in April). Brooks is, of course, no stranger to the Broadway musical genre or to songwriting, but skeptics might find themselves taken by surprise at just how outrageously well all the threads come together for the new show.

The film's absurd core vignette--the infamous "Springtime for Hitler"--if anything gains a few notches in hilarity when framed by a character-rich musical that comes off as both parody and valentine in its mimicry of Broadway's "golden age." Brooks (with the help of idiomatically expert arrangements by Glen Kelly) has cooked up a variety of numbers constituting a virtual primer of old-fashioned American musical comedy styles (there's even a toying with Cabaret-style decadence), but they're always coated with an extra layer of zaniness. In fact, the whole show becomes a Chinese box of parodies within parodies. But what really gets the whole mix working is a surefire cast headed by Nathan Lane playing Max Bialystock and Matthew Broderick doing a delightfully nebbish turn with delusions of misplaced glory as his sidekick, Leo Bloom.

From his first big number (musically winking at Fiddler on the Roof), Lane hungrily lays claim to the role, undaunted by his formidable predecessor, Zero Mostel. Even on disc, you can visualize his over-the-top mugging as a dethroned "king of Broadway" who was "the first producer ever to do summer stock in the winter." Comedy, as they say, is all about timing, and that's exactly what Lane gets right. His interactions with Bloom, Franz Liebkind (Brad Oscar), and Roger de Bris (Gary Beach) are priceless, even when only in sound. As for the tunes, Brooks crafts a number of truly memorable ones--don't be surprised to find yourself horrified as you hum along with "Der Guten Tag Hop-Clop" and, of course, "Springtime for Hitler." --Thomas May

Product details

Is Discontinued By Manufacturer ‏ : ‎ No
Language ‏ : ‎ English
Product Dimensions ‏ : ‎ 5.62 x 4.92 x 0.33 inches; 3.84 Ounces
Manufacturer ‏ : ‎ Sony Music
Item model number ‏ : ‎ 2110938
Original Release Date ‏ : ‎ 2001
Run time ‏ : ‎ 1 hour and 11 minutes
Date First Available ‏ : ‎ December 7, 2006
Label ‏ : ‎ Sony Music
ASIN ‏ : ‎ B00005AY6I
Number of discs ‏ : ‎ 1

Best Sellers Rank: #100,134 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #1,056 in Musical Soundtracks & Scores
- #1,106 in Movie Scores (CDs & Vinyl)
- #7,627 in Country (CDs & Vinyl)

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4.7 194 ratings

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Kenneth Kane

Back to the Future with Uncle Mel

Reviewed in the United States on April 29, 2001

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My wife and I were lucky enough to see the show in previews on Broadway and we haven't stopped laughing yet. The CD contains music which SOUNDS like tunes you've heard before -- even a casual listening will prompt you to think of Gypsy, Bye Bye Birdie, A Funny Thing Happened . . ., How To Succeed . . ., Fiddler on the Roof and at least a half-dozen other shows. It's as if someone dug this recording out of a circa 1950 time capsule.
This isn't meant to say the show is merely derivative. In fact, I consider the broadly familiar sound a strong positive factor. So is the madcap humor and pacing, both of the songs and the production as a whole.
Indeed, one of the show-stoppers on this cast recording is "The King of Old Broadway" and that's what this entire show is: a fabulous throwback to the old Broadway of classic American musical comedy of the mid-20th century. Three minutes into this CD you'll know you're NOT listening to a Disney show nor one composed by a Brit with three names.
Mel Brooks' tunes are catchy and singable and his lyrics are Noel Coward-sharp. (Just see if you can get these ditties out of your head!) The CD comes with a nice extra: extensive liner notes which include the complete lyrics and spoken interludes of every song.
The songs on the recording are well-played by an enthusiastic orchestra -- Glen Kelly's fine arrangements and orchestrations flesh out Mel's tunes. The singing is uniformly good, an occasional flat note not withstanding, and the interpreations are inspired. When Max/Nathan Lane tells Leo/Matthew Broderick near the end of the show, "I never realized you're a good singer" it's more than a line of dialogue. It's actually true.
If you're lucky enough to see the show, the CD is the ultimate souvenir. If you haven't seen it, the CD will more than tide you over until you do. And if "The Producers" inspires a renewal of the American musical comedy genre in the next few years (let's face it, success breeds imitation), then we all have Mel Brooks and company to thank or, to parody one of his own songs from the show:
Broadway going nowhere in a hurry . . . 'til him.
Bland and spiceless, never ever curry . . . 'til him.
Mel's schtick changed the Great White Way.
It's no longer prim.
Oi vay, let's hope there's at least another one . . . like him.

22 people found this helpful

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Robert Edler

AT LAST, A "REAL" BROADWAY MUSICAL!

Reviewed in the United States on April 20, 2001

Verified Purchase

Shocking? Outrageous? Insulting? Of course, it wouldn't have been a Mel Brooks' movie classic if there hadn't been something in it to offend almost everyone. When I first saw The Producers thirty-some years ago I said to myself, "Self, wouldn't this be great as a musical? And I would have loved to do it myself (in my dreams), but Mel Brooks has finally beat me to it and now The Producers, The Musical is destined to become a Broadway classic!"
This recording allows you to forget the last several years of questionable Broadway musicals and return to a time when a Broadway show meant fun, laughs and music! Making his debut as a "Broadway" composer/lyricist Mel Brooks has captured the feel of some of Broadway's greatest songsmiths of the past and his music sparkles with touches of Styne, Loesser, and even Gershwin. His lyrics, however, are pure Brooks all the way. If you remember "Springtime For Hitler" and "Prisoners Of Love" from the original movie, you'll know what to expect from the 15 new fun numbers in the score.
The recording sounds great with just enough show dialogue to give it a live stage presence that a great Broadway Cast recording must have. But you have to expect this from a show with stars like Nathan Lane and Matthew Broderick. They are outstanding, and boy, is it going to be rough come Tonytime! Brooks has generously supplied each of them with showstoppers...solos and duets! And I can't wait to see Lane perform "The King Of Broadway" and "Betrayed" the second act number in which he reprises the entire show up to that point. Dear Mr. Letterman, if you would be so kind?
Producer, Hugh Forin, and Sony Classic should be congratulated for finally giving us a "real" Broadway Original Cast recording. Now, I can't wait to get the New York to see it in person!
By the way, isn't that Mr. Brooks doing a one line cameo in Springtime For Hitler? Listen close and let me know!

12 people found this helpful

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Robea

Fantastic - a politically incorrect scream of a musical.

Reviewed in the United States on December 15, 2001

Verified Purchase

How did Mel Brooks get away with this? Gags about gays and old ladies? Chorus lines of guys and dolls in Nazi regalia? A musical remake of a 30-year old movie?
Yet when you listen to the CD it is obvious - many of the numbers could stand on their own and salvage an otherwise blaze' production. But here it's one hit after another. The lyrics are incredibly witty. The musical scores brilliant, wacky and loaded with powerful, punchy numbers that in a lot of ways are more like the traditional musical scores of the '40's and '50's.
My favorites were "I Want To Be a Producer", "Keep it Gay" and, of course, the insane "Springtime for Hitler" which is actually several songs put together in an 8:27 minute long "mini-musical" within the musical - worth the CD itself.
The singing is top notch, one excellent performance after another. Matthew Broderick's singing talent may be a surprise to his Ferris Buehler fans - except there was that "Dankeshein" number in the parade scene for those who remember it.
The only tiny flaw with this musical is the occasionally pointless profanity and bathroom/puberty humor. It only serves to remind one that there is still a piece of Mel Brooks brain that never left the junior high school locker room. Nevertheless any work this brilliant will remain a 5-star classic.
Also good booklet with the CD that gives all the lyrics, a good synopsis of the play and a bunch of good photos. Buy this, buy this, buy this.

2 people found this helpful

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Paul Hepplestone

Five Stars

Reviewed in the United Kingdom on March 31, 2016

Verified Purchase

good

Ingbert Edenhofer

the rebirth of the musical comedy

Reviewed in Germany on January 19, 2010

Verified Purchase

"The Producers" was a new beginning of sorts. Before it, the last successful musical comedy on Broadway may have been 1989's "City of Angels". The 1990s were mostly filled with spectacular but woe-filled megamusicals like "Miss Saigon", "Kiss of the Spider Woman" and "Sunset Boulevard". Then, the new millennium began, and one of the first great hits was a hilariously old-fashioned musical comedy with the twist of being politically incorrect but disarmingly charmingly so.

Almost every character is a walking stereotype but they also tend to get amazing comedic numbers, be it dumb Swedish blonde Ulla (power-belter Cady Huffman) who gets to sing "When you Got it, Flaunt it", the good old-fashioned Nazi Franz Liebkind (Brad Oscar) selling both the faux-nostalgic "In Old Bavaria" and the rousing "Haben Sie gehört das deutsche Band?" or power-gay delusional actor-director Roger de Bris (Gary Beach) whose mantra is "Keep it Gay".

The real selling-points are, however, two men. One of them is not Matthew Broderick, who is sort of the straight man in all of this. He delivers "I wanna be a Producer" nicely, but judging from the movie version, he needs to be seen to appreciate what he actually adds to the character. So one of the best things about the show is its Tony-Award-winning leading man Nathan Lane as past-his-prime producer Max Bialystock. He gets the first character number of the show, "The King of Broadway", and also its last, "Betrayed". Especially the latter is breathtaking. It is a musical-comedy version of the "Rose's Turn" variety of musical breakdown, and Lane delivers it with all the gusto anyone could muster.

This brings us to the other great contributor to the show's quality: Mel Brooks. His first musical theater score is outstandingly well-crafted (and much better than his follow-up, "Young Frankenstein"). For sheer hilarity, it might have been surpassed in the following years by "Avenue Q" and "Dirty Rotten Scoundrels" but almost every song is a winner including the beautiful "Overture", which sets the mood for something right out of the 1950s. Sure, "Springtime for Hitler" is the best-known number from the show - and it is very entertaining, but numbers like "Along Came Bialy", "We can Do it" or any of the above-mentioned are just as great. No one should be forced to live without this CD!

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