Musical Theater Treasures: "The Producers"
Over a year ago, I put together a To Do note to myself that I entered in my Outlook task manager. I didn’t want to address it at the time, since it was a lot of links, so whenever it would pop up in my To Do file, I’d just keep moving it forward. Eventually, I forgot exactly what was in it – thanks in part because I’d given it a generic and uninformative title (“Broadway musical numbers/ videos”) – which, given all the Broadway videos I post, didn't give me a sense of urgency to check it out ahead of the other I already have set to post. So, at least a year passed, maybe 18 months. I had no clue what was in it. But finally, a few weeks ago, I decided to deal with a bunch of similar “delayed” To Do notes, and I took a look what was inside.
Oh, my God! It was amazing! It was a collection almost 20 clips I’d watched and wanted to write about that were related to Broadway musicals. And not just the regular treats (and occasional treasures), but all were truly remarkable treasures. However, because there were so many and because I knew they each required a proper description, I just didn’t have time at the moment to deal with it all. So, I put it off. And, as I said, eventually forgot about what was in the note. All of these are great. But many, if not most of them are truly treasures that are captured on video.
All will be major joys of “Oh, my God” amazement to fans of musical theater. And I know that they won’t be as meaningful to everyone else. But – I think most of them (especially the best) will nonetheless be recognized as being of historic popular culture interest that most people will be interested to check out. And as for the others, with just as much historic value, I'll give the background for perspective. And I’m going to finally start posting them. So, if there’s a lot of Broadway musical material here showing up (more than usual...), that’s why.
And here’s just the first example of what I mean. It won’t be of the highest interest to everyone, but most will understand why it’s meaningful. To musical theater fans, though, this is a tremendous treasure.
It requires the backstory.
As I’ve written a long time past, I attended the second performance ever of the musical The Producers, which had its world premiere in Chicago. And my folks and I were at the second preview, before even reviews came out. So, the show was a total surprise to everyone in the audience. And as such, it was a revelation -- utterly hilarious and an incredible night in the theater, everything a surprise with nothing yet given away, and not even any expectations. Just hope that it would be wonderful. So, the show has been very special to me. (I’ve even posted some video of that Chicago production.) Jump ahead now to when Nathan Lane, the show's original star as 'Max Bialystock', left in 2002. The actor hired to replace him was Henry Goodman. His name isn’t known to most Americans, but he was one of my dad’s three favorite British stage actors from the trips he and my mother often took to London. (The other two, for those interested, were Michael Gambon and Simon Russell Beale.) Henry Goodman did Shakespeare -- winning the Olivier Award as 'Shylock' in The Merchant of Venice -- modern drama and even musicals, like Chicago (where he played lawyer ‘Billy Flynn’) and Candide (as 'Dr. Pangloss'). I was lucky enough to see him when he came to Los Angeles and was in an “experimental” play in a tiny venue at the Getty Museum, on Pacific Coast Highway.) Anyway, I was very pleased to read about Henry Goodman being in The Producers on Broadway. And floored when I read that he was let go from the show after 30 performances, without warning and before even the critics press night! It was bewildering. He’s a brilliant actor in all the things I've seen him in. From news stories I read and was able to cobble together about the firing, it seems that – not that he was bad, but – he wasn’t delivering the kind of performance the producers (the real producers…) wanted. A performance like how Nathan Lane had played the role – Max as a con man, but also a big, lovable goof of a guy, a bit put-upon by how the world has changed around him . The kind of cherubic fellow , who, on a good day, you might want to hug. And Henry Goodman played him more as a con man. Comic and lively, but a little darker, with edges -- a touch closer, he later said, to Zero Mostel in the original movie, who had somewhat of a physical aggressiveness. And so, Goodman was released from the show. It must have been mortifying.
Which brings us to this video. It’s five minutes of Henry Goodman in The Producers!!! I will admit to being wary before clicking “Play.” How bad might he be? How dark and brooding. As I started watching, my first thoughts were – he’s wonderful! This is really good. Yes, he’s not playing it like Nathan Lane. And yes, he’s a bit more edgy. But it wasn’t dark, brooding and serious at all. It was exuberant. And most of all, he was funny. And really good.
That doesn’t mean it was what the (real) producers wanted. Obviously, it wasn’t. The show had had massive success, and so they knew – understandably – what worked for them, and what they wanted. And it was ‘Max Bialystock’ like Nathan Lane. But…oh, man, what a relief to see that this was terrific performance. Even if it was “wrong” for what the producers wanted – it is not because it was a bad performance. It’s actually a highly accomplished performance. And you can hear laughs from the audience, and even big applause. In fact, I find much of it It actually compelling. just wasn’t the performance that the producers of the show wanted. But it’s very skilled.
(In a New York Times article written at the time, which I read while preparing this, they quote -- of all people today -- Goodman's friend Brian Cox who had been in the audience the night before the firing and, after praising the performance, states, "He got a standing ovation for his number in the second act [the song 'Betrayed'].")
In fairness, this is just five minutes of clips, and maybe over the course of a full show the difference between being like Nathan Lane and not being like Nathan Lane was more pronounced. Or not. But I just know, for my taste, this five-minute video was a joy – for its quality and for its relief. And above all, what a treasure for it to simply exist as evidence – and to find.
So, here are five minutes and excerpts of three songs with Henry Goodman. (“You Can Do It,” when he tries to con ‘Leo Bloom’ to join him. ‘Along Comes Bialy’ as he sets off into Little Old Lady Land to raise the money. And the tour-de-force “Betrayed,’ when ‘Max’ is in prison and recaps everything that has happened to get him there.)
By the way, playing ‘Leo Bloom,’ seen here briefly, the role is performed by Steven Weber.
As the first “pinned” User Comment states on YouTube– “I’m so glad this recording exists to redeem Henry Goodman's reputation." Indeed.
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