Singing. Dancing. Romance. Dicey decision making. Boob jokes. The Producers, A Mel Brooks Musical, has it all, plus all that signature Brooks wit. The latest local iteration is onstage at the Lancaster Opera House and it’s a hoot of a production.

Director/choreographer Eric Deeb Weaver has a great cast – who looked like they were having the time of their life – for this one.

The original 1967 film was called “the funniest movie ever made” by movie critic Roger Ebert and the stage version lives up to that. The set up: washed up theatre producer Max Bialystock (David Bondrow) is bilking bucks from lonely old ladies to produce notoriously bad shows. His new accountant, the mousy Leo Bloom, (John Kaczorowski) makes the off-hand comment that a producer could make more money from a flop than a hit, which spurs Max into action and takes Leo along for the ride. They find a sure-fire flop – Springtime for Hitler – written by reclusive Nazi Franz Liebkind (Steve Copps) and under the director of flamboyant director Roger De Bris (Gregory Gjurich), it finds a audience and is a raging success, thanks in part to lovely Norwegian ingenue Ulla (Kelly Copps).

Yes, it’s hilarious. Yes, it slaps all cultural sensitivity in the face two times over by making us laugh at ethnic and gender stereotypes.  But good people, remember this is satire and it’s supposed to make fun of the human condition. The heart of the show, though, has a message: poor Bloom is afraid of his own shadow and Bialystock’s bravado inspires Bloom to want to live a fuller life. Or as he says, “Stop the world, I want to get on!” You have to love a show that inspires us all to hope.  

So back to the show, which, is a well-executed, energetic presentation. Bondrow and Kaczorowski play off each other very well. Steve Copps as the wide and wild-eyes Franz the playwright couldn’t be any funnier if he tried, seriously. Kelly Copps – fresh off another Artie Award win – is every inch the impish Ulla, sashaying around Max’s office and then bringing it all on-stage in the faux production. She was made to sing “When You Got It, Flaunt It.” It’s Gjurich as director De Bris and Max Rittler as his sidekick Carmen Ghia that steal every scene they are in. Over- the-top affectations and perfectly nuanced hand flips and hair tosses make them as loveable as they are laughable. When De Bris needs to step into the role of Hitler in the faux show, his signature solo which begins with a wistful “Heil Myself” is comic genius. Gjurich is just that good and Rittler is right with him.

It’s a large ensemble with plenty of costume changes and wonderfully presented song and dance numbers. Weaver gets it all right and Fran Landis’ orchestra does, too. Hat tip to violinist Ted Smeltz who also portrays the Blind Violinist on stage as well. Rick Frendt’s projection design was clever (in lieu of moving set pieces) and Timmy Goodman’s costumes were spot on.

It’s a fun night of theatre for sure, running a little more than two hours with a 15-minute intermission until June 23. Tickets and details at http://www.lancasteropera.org.