A guide to all the songs in 'The Producers'

Mel Brooks's hilariously tasteless musical comedy includes "I Wanna Be a Producer", "Keep it Gay" and, of course, "Springtime for Hitler".

Mel Brooks is an actor, comedian, writer, and director and, with the stage adaptation of his 1967 film The Producers, became the composer and lyricist of a full-length Broadway score (he followed this feat with Young Frankenstein). He recently turned 99 – mazel tov!

The uproarious story of two unscrupulous producers who plot to make a fortune by staging the biggest flop ever, The Producers returns to the West End this autumn following a successful run at the Menier Chocolate Factory, starring Andy Nyman as Max Bialystock, Marc Antolin as Leo Bloom, and Joanna Woodward as Ulla. Directed by Patrick Marber (Leopoldstadt, Dealer’s Choice), LondonTheatre.co.uk’s reviewer was “pleased to report the show is as wonderfully tasteless, jaw-dropping, and full of spectacle as ever… this production is surely destined for the bright lights of the West End. After all, when you’ve got it, flaunt it”.

The score features Broadway jazz hands, Jewish klezmer, tango, and German folk influences. Each song is infectiously catchy – just beware of earworms as they do tend to stick! Jerry Herman, whom Brooks originally approached about musicalising the film, couldn’t have done better. Read on for our guide to these hilariously tasteless songs

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“Opening Night”

It’s opening night of producer Max Bialystock’s new show, a musical adaptation of Hamlet titled Funny Boy. Alas, the consensus is that it’s “the worst show in town”. Oy vey!

“King of Broadway”

Max licks his wounds and remembers being the toast of town as Broadway’s most successful producer. After all, he was the first producer to do summer stock in winter! He vows to rise to the top of his profession again.

“We Can Do It”

Nervy accountant Leo Bloom visits Max’s office to go over his books at the same time that one of Max’s elderly female ‘investors’ arrives, giving him a cheque for his next project. It transpires that Leo has always secretly wanted to be a Broadway producer. Following some calculations, it turns out that by carefully conning investors, it’s possible to make more money from a flop than from a hit. Max proposes just such a show that will earn that $1 million each. Leo isn’t sure he’s brave enough and refuses. There are lots of catchy numbers in the score and this is one of the earworm-iest.

“I Wanna Be a Producer”

Leo has a change of heart and quits his menial job at a dreary accountancy firm to embark on a new career in the theatre. Why continue with the daily grind when you can have lunch at Sardi's, a top hat and cane, and chorus girls falling at your feet?

“In Old Bavaria”

Max and Leo track down the most offensive play in existence: the fawning Springtime for Hitler: A Gay Romp with Adolf and Eva at Berchtesgaden by Franz Liebkind, an unrepentant Nazi. They visit the writer at his home in Greenwich Village where he reminisces about the good old days of the Third Reich.

"Der Guten Tag Hop Clop"

Max, Leo, and Franz celebrate signing the contract by singing Hitler’s favourite ditty. They swear the Siegfried Oath, promising never to dishonour the spirit or memory of Adolf Elizabeth Hitler.

“Keep it Gay”

The show needs a director and the producers approach Roger de Bris, who isn’t keen on the serious subject matter. According to Roger, “Shows should be more witty / Shows should be more pretty / Shows should be more, what’s the word… gay!” Roger eventually gives in when Max and Leo invoke the possibility of a Tony win, on the condition that the second act is rewritten so that Germany wins the war and there’s a happy ending for the protagonists.

“When You’ve Got It, Flaunt It”

Max and Leo meet the Swedish showgirl Ulla Inga Hansen Benson Yansen Tallen Hallen Svaden Swanson and are both attracted. Ulla doesn’t believe in false modesty: “People say that being prim is proper / But every showgirl knows that prim will stop her”. She’s hired.

“Along Came Bialy”

In this tango-style number Max raises the $2 million needed to mount the production by extracting money from “ageing nymphomaniacs” who are rendered helpless by his attentions. The show can go ahead – all the boys have to do is produce the biggest flop in history! End of Act One.

“That Face”

Leo has really fallen for Ulla but isn’t sure how to proceed. Ulla, likewise, is drawn to the shy producer. Max’s feelings for Ulla are more of the lustful variety.

"Haben Sie Gehört Das Deutsche Band?"

Director Roger doesn’t deem any of the candidates for the role of Hitler to be up to standard. Playwright Franz delivers a jazzy rendition of Hitler’s aria and is approved by Max.

“Opening Night”

It’s opening night for Springtime for Hitler. Will it flop or will it go?

“You Never Say Good Luck on Opening Night”

No one has told theatre neophyte Leo that it’s bad luck to say “Good luck” on opening night! It should be “Break a leg”. Franz takes a tumble and literally breaks a leg. Only Roger knows the part of Hitler and he steps in as a last-minute replacement.

Springtime for Hitler”

It’s the moment we’ve all been waiting for. “It’s springtime for Hitler and Germany / Deutschland is happy and gay…” The audience is initially shocked by the Ziegfeld Follies-style costumes and staging and Busby Berkeley-esque choreography that appears to be celebrating the most notorious mass murderer of the twentieth century (“The führer is causing a furore!”) but Roger’s performance as Hitler is so over the top that the audience concludes that it must be satire rather than hagiography.

“Where Did We Go Right?”

Max and Leo are appalled to read positive reviews of the show – “a satiric masterpiece”, “a surprise smash”. Ulla is also singled out for praise. Surely their plot will now be uncovered by the IRS. There’s a huge commotion involving Franz waving a pistol to avenge Roger’s interpretation of Hitler. The police arrive and arrest Franz who breaks his other leg. They also seize the books and arrest Max. Leo hides and Ulla persuades him to take the $2 million and run away to Rio de Janeiro with her.

“Betrayed”

In prison, Max receives a postcard from Leo from Brazil. He unleashes his fury: “I feel like Othello / Everything is lost / Leo is Iago / Max is double crossed!” No one will pay his bail and no one seems to care. He descends into mania – poor old Max.

“‘Til Him”

Just as Max is found “Incredibly guilty”, Leo returns from Rio with the stolen money. He tells the judge that Max is the only true friend he has ever had, who taught him to how live a more exciting life. The judge is touched by their friendship and sentences them to five years in Sing Sing prison together.

“Prisoners of Love”

Max and Leo write a new musical called Prisoners of Love for their fellow inmates and are pardoned by the governor of New York for bringing so much joy to the prison. Next stop, Broadway! Leo and Max are back on top!

“Goodbye”

The cast bids the audience farewell – until the next hit!

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Photo credit: The Producers at the Menier Chocolate Factory. (Photo by Manuel Harlan)