The Producers


The New Mel Brooks Musical


St. James Theatre, (4/19/2001 - 4/22/2007)

First Preview: Mar 21, 2001
Opening Date: Apr 19, 2001
Closing Date: Apr 22, 2007
Total Previews: 33
Total Performances: 2502

Category: Musical, Comedy, Original, Broadway
Setting: New York. 1959.

Opening Night Production Staff

Theatre Owned / Operated by Jujamcyn Theaters (James H. Binger: Chairman; Rocco Landesman: President; Paul Libin: Producing Director; Jack Viertel: Creative Director)

Produced by Rocco Landesman, SFX Theatrical Group, The Frankel-Baruch-Viertel-Routh Group, Bob Weinstein, Harvey Weinstein, Rick Steiner, Robert F.X. Sillerman and Mel Brooks; Produced in association with James D. Stern and Douglas L. Meyer; Associate Producer: Frederic H. Mayerson, Rhoda Mayerson and Lynn Landis

Book by Mel Brooks and Thomas Meehan; Music by Mel Brooks; Lyrics by Mel Brooks; Musical Director: Patrick S. Brady; Vocal arrangements by Patrick S. Brady; Music orchestrated by Doug Besterman; Music arranged by Glen Kelly; Uncredited orchestrations by Larry Blank

Directed by Susan Stroman; Choreographed by Susan Stroman; Associate Director: Steven Zweigbaum; Associate Choreographer: Warren Carlyle

Scenic Design by Robin Wagner; Associate Scenic Design: Dave Peterson; Costume Design by William Ivey Long; Associate Costume Design: Martha Bromelmeier; Lighting Design by Peter Kaczorowski; Sound Design by Steve Canyon Kennedy; Associate Sound Design: John Shivers; Hair and Wig Design by Paul Huntley; Make-Up Design by Randy Houston Mercer

General Manager: Richard Frankel Productions and Laura Green; Company Manager: Kathy Lowe; Associate Co. Mgr: Jackie Newman

Technical Supervisor: Juniper Street Productions; Production Stage Manager: Steven Zweigbaum; Stage Manager: Ira Mont

Musical Coordinator: John Miller; Musical Supervisor: Glen Kelly; Conducted by Patrick S. Brady; Associate Conductor: Phil Reno; Concert Master: Rick Dolan; Woodwind: Vincent DellaRocca, Steven J. Greenfield, Jay Hassler, Alva F. Hunt and Frank Santagata; Trumpet: David Rogers, Nick Marchione and Frank Greene; Tenor Trombone: Dan Levine and Tim Sessions; Bass Trombone: Chris Olness; French Horn: Jill Williamson; Violin: Ashley D. Horne, Louise Owen, Karen M. Karlsrud and Helen Kim; Cello: Laura Bontrager; Harp: Anna Reinersman; String Bass: Robert Renino; Drums: Cubby O'Brien; Percussion: Benjamin Herman; Keyboard: Phil Reno

Casting: Johnson-Liff Associates; Press Representative: Barlow-Hartman Public Relations; Dance Captain: Brad Musgrove and Christina Marie Norrup; Advertising: Serino Coyne, Inc.; Photographer: Paul Kolnik and Norma Jean Roy; Promotions/Marketing: The Marketing Group

By special arrangement with StudioCanal

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Opening Night Cast

Matthew BroderickLeo Bloom
(Mar 21, 2001 - Mar 17, 2002)
Nathan LaneMax Bialystock
(Mar 21, 2001 - Mar 17, 2002)
Roger BartCarmen Ghia
Gary BeachRoger De Bris
(Mar 21, 2001 - Apr 24, 2003)
Cady HuffmanUlla
(Mar 21, 2001 - Aug 03, 2003)
Brad OscarFranz Liebkind
Jeffry DenmanScott
(Mar 21, 2001 - Jun 16, 2002)
Donald Dinsmore
Guard
Ensemble
Madeleine DohertyHold-me Touch-me
Ensemble
Bryn DowlingUsherette
Ensemble
Kathy FitzgeraldShirley
Kiss-me Feel-me
Foreman of Jury
Ensemble
Robert H. FowlerO'Houlihan
Ensemble
Ida GilliamsEnsemble
Eric GunhusLead Tenor
Ensemble
Kimberly HesterEnsemble
Naomi KakukEnsemble
Matt LoehrO'Riley
Ensemble
Peter MarinosBryan
Jack Lepidus
Judge
Ensemble
Angie L. SchworerEnsemble
(Mar 21, 2001 - Jul 21, 2002)
Jennifer SmithUsherette
Lick-me Bite-me
Ensemble
Abe SylviaO'Rourke
Bailiff
Ensemble
Tracy TerstriepEnsemble
Ray WillsMr. Marks
Kevin
Jason Green
Sergeant
Trustee
Ensemble

Swings: Jim Borstelmann, Adrienne Gibbons, Jamie LaVerdiere, Brad Musgrove and Christina Marie Norrup

Understudies: Jim Borstelmann (Franz Liebkind, Roger De Bris), Jeffry Denman (Franz Liebkind, Leo Bloom), Ida Gilliams (Ulla), Jamie LaVerdiere (Carmen Ghia, Leo Bloom), Brad Musgrove (Carmen Ghia, Roger De Bris), Brad Oscar (Max Bialystock, Roger De Bris), Angie L. Schworer (Ulla) and Ray Wills (Max Bialystock)

Awards and Nominations

Tony Award®

winner 2001 Best Musical [winner] 

Produced by Rocco Landesman, SFX Theatrical Group, The Frankel-Baruch-Viertel-Routh Group, Bob Weinstein, Harvey Weinstein, Rick Steiner, Robert F.X. Sillerman and Mel Brooks; Produced in association with James D. Stern and Douglas L. Meyer

winner 2001 Best Book of a Musical [winner] 

Book by Mel Brooks and Thomas Meehan

winner 2001 Best Original Score [winner] 

Lyrics by Mel Brooks; Music by Mel Brooks

winner 2001 Best Actor in a Musical [winner] 

Nathan Lane

 2001 Best Actor in a Musical [nominee] 

Matthew Broderick

winner 2001 Best Featured Actor in a Musical [winner] 

Gary Beach

 2001 Best Featured Actor in a Musical [nominee] 

Roger Bart

 2001 Best Featured Actor in a Musical [nominee] 

Brad Oscar

winner 2001 Best Featured Actress in a Musical [winner] 

Cady Huffman

winner 2001 Best Scenic Design [winner] 

Robin Wagner

winner 2001 Best Costume Design [winner] 

William Ivey Long

winner 2001 Best Lighting Design [winner] 

Peter Kaczorowski

winner 2001 Best Choreography [winner] 

Susan Stroman

winner 2001 Best Direction of a Musical [winner] 

Susan Stroman

winner 2001 Best Orchestrations [winner] 

Doug Besterman

Drama Desk Award

winner 2001 Outstanding New Musical [winner] 

Produced by Rocco Landesman, SFX Theatrical Group, The Frankel-Baruch-Viertel-Routh Group, Bob Weinstein, Harvey Weinstein, Rick Steiner, Robert F.X. Sillerman and Mel Brooks; Produced in association with James D. Stern and Douglas L. Meyer

winner 2001 Outstanding Book of a Musical [winner] 

Book by Mel Brooks and Thomas Meehan

winner 2001 Outstanding Actor in a Musical [winner] 

Nathan Lane

 2001 Outstanding Actor in a Musical [nominee] 

Matthew Broderick

winner 2001 Outstanding Featured Actor in a Musical [winner] 

Gary Beach

 2001 Outstanding Featured Actor in a Musical [nominee] 

Roger Bart

winner 2001 Outstanding Featured Actress in a Musical [winner] 

Cady Huffman

winner 2001 Outstanding Choreography [winner] 

Susan Stroman

winner 2001 Outstanding Director of a Musical [winner] 

Susan Stroman

winner 2001 Outstanding Orchestrations [winner] 

Doug Besterman

winner 2001 Outstanding Lyrics [winner] 

Lyrics by Mel Brooks

winner 2001 Outstanding Set Design of a Musical [winner] 

Robin Wagner

winner 2001 Outstanding Costume Design [winner] 

William Ivey Long

 2001 Outstanding Lighting Design [nominee] 

Peter Kaczorowski

Songs

music by Mel Brooks; lyrics by Mel Brooks

ACT 1 Sung By
Opening NightEnsemble
The King of BroadwayMax Bialystock and Ensemble
We Can Do ItMax Bialystock and Leo Bloom
I Wanna Be a ProducerLeo Bloom and The Accountants
We Can Do It (Reprise) Max Bialystock and Leo Bloom
In Old BavariaFranz Liebkind
Der Guten Tag Hop ClopFranz Liebkind, Max Bialystock and Leo Bloom
Keep It GayRoger De Bris, Carmen Ghia, Bryan, Kevin, Scott, Shirley, Max Bialystock and Leo Bloom
When You Got It, Flaunt ItUlla
Along Came BialyLittle Old Ladies and Max Bialystock
Act One FinaleMax Bialystock, Leo Bloom, Franz Liebkind, Ulla, Roger De Bris, Carmen Ghia, Bryan, Kevin, Scott, Shirley and Ensemble
ACT 2 Sung By
That FaceLeo Bloom, Ulla and Max Bialystock
Haben Sie Gehoert Das Deutsche Band?Jason Green and Franz Liebkind
Opening Night (Reprise) The Usherettes
You Never Say 'Good Luck' on Opening NightRoger De Bris, Max Bialystock, Carmen Ghia, Franz Liebkind and Leo Bloom
Springtime for HitlerLead Tenor, Roger De Bris, Ulla and Ensemble
Where Did We Go Right?Max Bialystock and Leo Bloom
BetrayedMax Bialystock
'Til HimLeo Bloom and Max Bialystock
Prisoners of LoveThe Convicts
Prisoners of Love (Reprise) Roger De Bris, Ulla and Ensemble
Leo and MaxLeo Bloom and Max Bialystock
Goodbye!The Company

Reviews


New York Daily News: "Such a Production!"

There is only one logical conclusion to be drawn from the triumphant musical Mel Brooks has made from his fabulously funny movie "The Producers." He must run for mayor. If he can revive something I didn't expect to see in my lifetime - musical comedy, with an emphasis on the latter - he can surely carry off the much easier task of running New York. "The Producers" is the first new musical in years with an inescapably New York energy. Imagine what Brooks could bring to a mayoral race that promises to be so dreary they'll probably close it out of town. I came to this realization early in the second act, when I could not control my foot keeping time with the music. The song in question was being sung by Franz Liebkind, an unrepentant Nazi who has written "Springtime for Hitler," a musical valentine to the Führer. Every educated person, I assume, knows the plot of "The Producers." The title characters believe "Springtime" is the worst play possible to produce; their assumption is that when you have a flop, no one worries about where the money goes. Max Bialystock (Nathan Lane) has romanced dozens of ancient, rich women to raise $2 million to mount the surefire flop he and his partner, Leopold Bloom (Matthew Broderick), know Liebkind's musical will be. And to guarantee this goal, they have hired the deliciously swishy director Roger DeBris. Liebkind, angry at the men auditioning to play Adolf, sings "Haben Sie Gehoert das Deutsche Band" to show them how the material must be done. Like all the other songs in the show, it was written by Brooks. (He would be our first songwriting mayor since Jimmy Walker.) Many are parodies. All are verbally deft and melodically beguiling. Most are short and funny, but Brooks' best, "'Til Him," is a hymn to friendship that comes toward the end, and is surprisingly sweet. "Haben Sie Gehoert," however, with its pidgin German, is just silly. Brad Oscar, who plays Liebkind, sings it with gusto and dances its daffy combination of buck and wing and goose steps with manic energy. I found it irresistible. Moments later comes the spectacular production number, "Springtime for Hitler" - as inspired a piece of satiric lunacy as has ever been written. Brilliant as it is in the film, it's even more so here, because it includes a solo by DeBris, who has taken over the role of Hitler for opening night, singing about his showbiz career ("I'm the German Ethel Merman, don'tcha know?") with winsome Judy Garland gestures.

Brooks' material is no less outrageous than it was 30 years ago. His major ally is director and choreographer Susan Stroman, who mounted the last major attempt to restore the comedy to musicals, "Crazy for You." Here, she raises choreographic dizziness to unparalleled heights - as in a wild ballet for sex-starved old ladies, who do quasi-gymnastic routines on their walkers. She has also built the large, eccentric cast into a powerful ensemble. Nathan Lane does his funniest work in years. He dashes about as furiously as an ungainly bulldog, and the futility of it is oddly touching. He sings Brooks' klezmer-like laments with great bravura. (Yes, Nathan, all is forgiven.) Matthew Broderick sings and dances with suitably forlorn charm and makes Bloom's neuroses endearing. Cady Huffman is splendid as their drolly oversexed Swedish secretary, Ulla. Gary Beach is sensational as DeBris, especially when he outlines his plans to give "Hitler" a happy ending. Roger Bart is equally hilarious as his mincing assistant, Carmen Ghia. Kathy Henderson is unforgettable in the role of their lighting designer, Shirley Markowitz. Set designer Robin Wagner, also part of the "Crazy for You" team, wittily echoes some of those designs here, but his use of mirrors in the big number, partly to parody the original "Cabaret," is unusually brilliant. Peter Kaczorowski's lighting adds immeasurably to the fun. Yet another member of the "Crazy" team, costume designer William Ivey Long, has outdone himself, especially in his brazenly grandiose concoctions for the showgirls in "Springtime."

No new musical in ages has offered so much imagination, so much sheer pleasure. If we make Brooks our mayor, we'll laugh and sing and dance for eight years. I hope the show runs much longer.


New York Daily News
04/20/2001

New York Post: "Springtime for B'way"

“The Producers" is a cast-iron, copper-bottomed, superduper, mammoth old-time Broadway hit.

There are few trickier problems that can beset a show than advance hype suggesting it's the dandiest thing to hit Broadway since tip-up seats. Over-expectation can be a killer. Alternatively, under-expectation can be a godsend.

So it is a mad joy to say that everything terrific you heard about "The Producers" is 100 percent true - well, 97 percent true, for a critic must keep a sense of proportion - and if you heard anything bad, it's a dirty lie.

Mel Brooks' first musical - oh, to be a springlike neophyte at the age of 2000, or whatever age the man currently claims! - opened last night at the St. James Theatre with Nathan Lane and Matthew Broderick, both great, leading one of the finest ensemble casts in modern Broadway history. It's a joke-embossed zinger that never gets a rhyme wrong.

The making of this Susan Stroman-guided hit looks transparently complex, an object lesson in the good old Broadway trade of adaptation.

The task of translating Brooks' brilliant but undisciplined Oscar-winning screenplay for his legendary 1968 movie "The Producers" should have proved attractive but virtually insurmountable - like Everest on a bad snow day.

Yet, with uncanny skill and grace, Brooks and the co-writer of the musical's book, Thomas Meehan, have crafted a story - cutting here, adding there - even more persuasive and funnier than the original movie. And it is still a wondrously absurd, but perhaps not that tall, a tale.

If anyone has just dropped in by carrier pigeon from Omsk, Tomsk or points north, that tale concerns a rascally producer down on his luck, who conspires with a timid accountant to cook the books on a Broadway fiasco, and scoot away from a one-night disaster with an unaccounted and unaccountable surplus 2 million bucks in their pockets.

All the scheme needs is a flop. They think they have found one in a little musical called "Springtime for Hitler," and go to great pains to find the worst director and hire the worst actors to guarantee a flop of flops. But . . . well, you never do know on Broadway, do you?

Brooks' music is cunningly arranged by Glen Kelly, who, in Brooks' own words "Took my rude, simple 32-bar songs and made them sound like glorious and memorable show tunes," which were then boldly orchestrated by Doug Besterman, who made them, again in Brooks' jocular and possibly biased opinion, "meet, match and even outdo some of the great Broadway musical comedy classics."

Yeah, well - the music isn't at all bad, but that's the most surprising thing about it, and certainly the score need not cause Stephen Sondheim sleepless nights or have Irving Berlin twisting restlessly in an unquiet grave.

But the very serviceable music is really only the agreeable and conventional fabric to hold the lyrics together - and the lyrics are superb, dazzlingly witty and miraculously adroit.

For example, Brooks finds 10 relevant rhymes for "nights" without repeating himself - harder to do than you might imagine - and, throughout, the sheer nimbleness of his wordplay simply enchants.

So Brooks and Meehan are heroes, but then so is the redoubtable Susan Stroman, who, in both staging and choreography, outdoes even herself in ingenuity, imagination and plain, old showbiz pizazz.

There's the ballet for old ladies in walkers. And the Busby Berkeley-style swastika ensemble that puts the climactic cuckoo-call in the actual "Springtime for Hitler" number.

And then there's the mechanical pigeons (don't ask). And the finale, which rounds off the story much more effectively than did the screenplay - although, as in the movie, the ending still sags from earlier heights.

Stroman, the designers and the cast have steered Brooks' piratical vessel into the safest of harbors.

Robin Wagner's scenery is not only fantastic in its humor but perfect in its cohesion with the plot, and the same can be said for William Ivey Long's mock-elegant costumes, and Peter Kaczorowski's inventive lighting.

As for the performers I do know where to start: With Lane's brash, fierce and indomitable crooked producer, a man to a cloak and fedora born, and Broderick's meek accountant, with a voice strangled with hysteria and using a security blanket as a Kleenex tissue - I just don't know where to finish.

Everyone - from the last chorus girl on the right to the last chorus boy on the left - was absolutely terrific.

But I have to mention the delectable, Swedish-language-challenged but legs triumphant, Cady Huffman; Gary Beach, who not only does wonders for the English luvvie of a director, but also gets to play Hitler; Roger Bart as a glorious sidekick, who makes him look butch; and the guttural ubermensch of a playwright, an unregenerate storm trooper, the gorgeously grotesque Brad Oscar.

One last point. Will "The Producers" be controversial? It must be admitted that, like the movie, it makes fun of Adolf Hitler and his Third Reich, which some may find offensive in its satiric trivialization of a serious subject.

Speaking as someone who 61 years ago was possibly only 22 miles of water and a rather good Air Force away from becoming a bar of soap, I did not find it offensive.

I found it triumphant. After all, we won.


New York Post
04/20/2001

Variety: "The Producers"

Whether "The Producers" should be classified as a Broadway musical or a party exploding eight times a week at the St. James Theater can be debated. However you choose to describe it, the show is a rip-roaring, gut-busting, rib-tickling, knee-slapping, aisle-rolling (insert your own compound adjective here) good time. This big whoopee cushion of a musical simultaneously restores its primary author, Mel Brooks -- the granddaddy of grossout humor, after all -- to his rightful place of honor in showbiz, and gives Broadway the kind of headline-making megahit it hasn't seen since a certain Disney feline came to town.

How funny is "The Producers"? Well, Robin Wagner's sets are funny; William Ivey Long's costumes are funny; Paul Huntley's wigs and hair are funny (note the tribute to the film's Zero Mostel's ghastly comb-over created for Nathan Lane); Susan Stroman's choreography is deliriously funny; the cast, from top to bottom, is funny; even the transitions between scenes and the song titles are funny ("Der Guten Tag Hop Clop," for God's sake!). Funniest of all, of course, are the book by Brooks and Thomas Meehan, and the lyrics by Brooks.

It certainly helps to start with one of the finest film comedies of all time, the 1968 picture for which Brooks won an original screenplay Oscar. The musical takes a few new (and unnecessary) detours, but it essentially tells the famous story of down-at-heels Broadway producer Max Bialystock and his can't-lose scheme to get rich by intentionally producing a megaflop, the musical "Springtime for Hitler," and heading to Rio with the investors' money.

Merely transcribed to the stage, the show probably would be successful: The material is inherently terrific. But Brooks and his collaborators go further, capitalizing on the new medium in ways that add immensely to its appeal. Jokes older than Brooks' 2,000-year-old man are inserted into the proceedings like cloves on a holiday ham (when a mincing queen turns to somebody and says, "Walk this way," you know what's coming). But the theatrical medium lets the performers offer them up with a grimace or a wink that receives happy acknowledgment from an irony-sated audience hungry for good, old-fashioned bad jokes. Kidding itself as it goes along, the show also pokes happy fun at all sorts of stage conventions: "Why you move so far downstage right?" Swedish supervixen Ulla earnestly asks a retreating Leo Bloom at one point.

Brooks' score will not enter the pantheon of musical classics, but this master parodist clearly is an avid student of the Broadway musical and he knows how to structure a standard show tune. The songs' catchy simplicities are enhanced by clever visual jokes (those priceless pigeons!), percolating arrangements from Glen Kelly or the brilliant choreography of Stroman, who creates a series of giddy, increasingly inspired stage pictures culminating, of course, in the extravaganza of "Springtime for Hitler." Stroman's customary, inventive use of props pays off spectacularly throughout the evening, particularly in a mad, rhythmic romp for Max's little-old-lady investors that should not be spoiled by any further description.

The show has been expertly cast, with an array of neatly etched comic performances orbiting busily around Lane's career-topping turn as Max Bialystock. Lane's sad-sack eyes and air of desperate disgust are perfect for the frenzied, hapless Max; a master of the single, double and triple take, Lane gets to use all his shameless theatricality in this role, culminating in a strenuous act two solo number, "Betrayal," in which he speedily recaps the entire show in about three minutes of music. (Like some other diversions the show takes in a padded-feeling second act, this number is strictly unnecessary, but it's still fun.)

Matthew Broderick will have a tougher time winning over audiences enamored of the inimitable Gene Wilder's bigscreen take on Bloom, the milquetoast accountant Max corrals into joining his scheme. His performance is fresh and delightful when he's dancing and prancing in semi-awkward bliss at the prospect of producing fame or a sexual liaison with the luscious Ulla, but Broderick is a bit self-conscious at other times -- a likable musical-comedy leading man, he's not really the natural clown for which the role seems to call.

There is plenty of clowning elsewhere, in any case. Offering delicious support as the pert Ulla is Cady Huffman, whose endless legs and ample chest seem possessed of independent comic instincts. Brad Oscar's Franz Liebkind, the neo-Nazi playwright and pigeon-keeper, is a big bite of comic bratwurst. Gary Beach and Roger Bart serve up a twin set of extravagantly silly gay caricatures as director Roger De Bris and his "common-law assistant" Carmen Ghia, respectively.

Beach nimbly parodies everyone from Jolson to Garland in his sprawling solo turn at the center of "Springtime for Hitler," while Bart, a Tony-winning canine in "You're a Good Man, Charlie Brown," continues to forage in the animal kingdom, playing his role as a scene-pilfering mixture of a preening Persian cat and a twitching, queer cockatoo. (This show is definitely not for the stereotype-sensitive.)

Whether it's because they're primed by word of mouth or simply starved for brassy, take-no-prisoners comedy on Broadway, audiences are devouring the show, lapping up the hoary jokes and pratfalls as if they were manna from heaven. In a way, they are. Broadway is increasingly divided between highbrow plays and bland, family-friendly musical spectacles, with the occasional highbrow musical valiantly striving to marry the two extremes, usually to leaden results.

"The Producers" is not a work of art, but it's a highly accomplished piece of lowdown entertainment. And how delicious that a show about the attempted detonation of a Broadway bomb should become the first Broadway smash of the new century.


Variety
04/19/2001

Replacement/Transfer Info


The following people are credited as replacements or additions if they were not credited on opening night.


St. James Theatre

(4/19/2001 - 4/22/2007)
Assistant Stage Mgr: Àra Marx.

Associate Conductor: David Gursky; Woodwinds: Christine MacDonnell; French Horn: Nancy Billmann; Cello: Leo Grinhauz; String Bass: John Arbo(Feb 27, 2007 - Apr 22, 2007); Drums: Larry Lelli.

Dance Captain: Courtney Young, Justin Greer; Press Representative: Rick Miramontez.

Cast

Fred Applegate
Max Bialystock (Oct 7, 2003 - Dec 28, 2003)
Brooks Ashmanskas
Carmen Ghia (Aug 31, 2004 - ?)
Roger Bart
Leo Bloom (Dec 17, 2002 - May 18, 2003)
Carmen Ghia (Dec 30, 2003 - Apr 4, 2004)
Leo Bloom (Apr 6, 2004 - Jun 13, 2004)
Leo Bloom (May 3, 2005 - Jul 3, 2005)
Leo Bloom (May 16, 2006 - Jul 2006)
Leo Bloom (Dec 19, 2006 - circa. 2007)
Philip Michael Baskerville
Ensemble
O'Houlihan (circa. Aug 2006 - ?)
Gary Beach
Roger De Bris (Oct 7, 2003 - ?)
John Boag
Lead Tenor (Jun 2, 2005 - Jun 26, 2005)
Justin Bohon
Ensemble
O'Riley
Jim Borstelmann
Donald Dinsmore
Ensemble
Guard
Scott
Franz Liebkind (Apr 16, 2002 - May 3, 2002)
Scott (Jun 18, 2002 - ?)
Matthew Broderick
Leo Bloom (Dec 30, 2003 - Apr 4, 2004)
Mel Brooks
Judge (Dec 31, 2003 - Dec 31, 2003)
Jennifer Paige Chambers
Ensemble (Jul 24, 2003 - Feb 19, 2004)
Jennifer Clippinger
Ensemble
Usherette
Sarah Cornell
Ulla (Aug 5, 2003 - Nov 2, 2003)
Ida Leigh Curtis
Ensemble
Tony Danza
Max Bialystock (Dec 19, 2006 - ?)
Pamela Dayton
Foreman of Jury
Kiss-me Feel-me
Shirley
John Treacy Egan
Franz Liebkind (May 4, 2002 - Apr 24, 2003)
Roger De Bris (Apr 25, 2003 - Oct 5, 2003)
Max Bialystock (Dec 13, 2004 - Dec 20, 2004)
Hunter Foster
Leo Bloom (Jun 15, 2004 - Jan 10, 2005)
Leo Bloom (Jul 5, 2005 - May 14, 2006)
Leo Bloom (Jul 27, 2006 - ?)
Leo Bloom (Jan 23, 2007 - ?)
Jonathan Freeman
Roger De Bris
Steve Geary
Ensemble (Jan 14, 2003 - Jun 15, 2003)
O'Riley (Jan 14, 2003 - Jun 15, 2003)
Henry Goodman
Max Bialystock (Mar 19, 2002 - Apr 14, 2002)
James Gray
Bailiff
Ensemble
O'Rourke
Sam Harris
Carmen Ghia (Jul 2, 2002 - Dec 15, 2002)
Chris Holly
Ensemble
O'Riley
Shauna Hoskin
Ensemble
Kimberly Jones
Broadway debut
Ensemble
Richard Kind
Max Bialystock (Dec 21, 2004 - Jul 3, 2005)
Charley Izabella King
Ensemble
Renée Klapmeyer
Ensemble
Chris Klink
Ensemble
Broadway DebutO'Riley
Nathan Lane
Max Bialystock (Dec 30, 2003 - Apr 4, 2004)
Kevin Ligon
Ensemble
Jason Green
Kevin
Mr. Marks
Sergeant
Trustee
Katrina Loncaric
Ensemble (circa. Aug 2006 - ?)
Mark Lotito
Ensemble
Jason Green
Kevin
Mr. Marks
Sergeant
Trustee
Melissa Rae Mahon
Ensemble
Mike McGowan
Bailiff
Ensemble
O'Rourke
Brad Musgrove
Carmen Ghia (Dec 17, 2002 - Dec 28, 2003)
Bill Nolte
Franz Liebkind
Christina Marie Norrup
Ensemble
Lick-me Bite-me
Usherette
Brad Oscar
Max Bialystock (Apr 16, 2002 - Apr 27, 2003)
Max Bialystock (Apr 6, 2004 - Dec 12, 2004)
Jessica Perrizo
Ensemble
Lee Roy Reams
Roger De Bris (Sep 15, 2006 - ?)
Jai Rodriguez
Carmen Ghia
Lisa Rothauser
Ensemble
Hold-me Touch-me
Alan Ruck
Leo Bloom (Jan 11, 2005 - May 1, 2005)
Peter Samuel
Franz Liebkind (Apr 25, 2003 - ?)
Jason Patrick Sands
Bailiff
Ensemble
O'Rourke
Angie Schworer
Ulla (Nov 4, 2003 - ?)
Lewis J. Stadlen
Max Bialystock (Apr 29, 2003 - Oct 5, 2003)
Don Stephenson
Leo Bloom (May 20, 2003 - Dec 28, 2003)
Sarrah Strimel
Ensemble
Jenny-Lynn Suckling
Ensemble
Will Taylor
Bailiff
O'Rourke
Andre Ward
Ensemble
O'Houlihan
Wendy Waring
Ensemble
Steven Weber
Leo Bloom (Mar 19, 2002 - Dec 15, 2002)
Ashley Yeater
Ensemble
Usherette
Courtney Young
Ensemble
Usherette




Standbys: Brad Oscar (Max Bialystock, Max Bialystock).

Understudies: Jennifer Paige Chambers (Ulla), Ida Leigh Curtis (Ulla), John Treacy Egan (Franz Liebkind, Max Bialystock, Roger De Bris), Stacey Todd Holt (Carmen Ghia, Leo Bloom), Charley Izabella King (Ulla), Kevin Ligon (Franz Liebkind, Max Bialystock, Roger De Bris), Matt Loehr (Leo Bloom), Katrina Loncaric (Ulla), Mark Lotito (Franz Liebkind, Max Bialystock, Roger De Bris), Brad Musgrove (Carmen Ghia), Joel Newsome (Carmen Ghia, Leo Bloom), Bill Nolte (Max Bialystock), Larry Raben (Carmen Ghia, Leo Bloom), Sarrah Strimel (Ulla), Jenny-Lynn Suckling (Ulla), Tracy Terstriep (Ulla), Patrick Wetzel (Carmen Ghia, Franz Liebkind, Leo Bloom), Ray Wills (Franz Liebkind).


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