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HAODS: THE PRODUCERS

Cameron Rowell as the flamboyant Roger Debris (in the dress)  and his assistant Carmen Ghia, played by Sam Berry (black jeans)  ©AAH/Alan Wright)

Published on 1st June 2022

The Producers was a Broadway sensation, winning a record-breaking 12 Tony Awards in 2001 and many members of Horsham Amateur Operatic & Dramatic Society (HAODS) have wanted to stage their own version ever since. In May, they finally got the chance and revelled in bringing songs such as Springtime for Hitler to Horsham.

The story follows the fortunes of Max Bialystock, renowned as the worst producer on Broadway, and his timid accountant Leo Bloom. When Bloom identifies a scenario in which a well-financed show that flops could make more money than a hit, the two men hatch a fool-proof plan. They buy the worst script ever, written by an ex-Nazi, and hire the worst director in town, the ludicrously camp and exuberant Roger Debris, who is forced to take on the lead role of Hitler and plays it the only way he know how. Inevitably, the show is hailed by the critics! 

HAODS’ production was directed by Barrie Ward, who previously steered Hello Dolly! (2014) and Guys and Dolls (2012). Barrie said: “The Producers certainly isn’t “woke!” There’s very few people Mel Brooks doesn’t offend in this show and that’s the idea. During Springtime for Hitler, the actors are required to do a “Heil Hitler!” salute on stage. In any other scenario, you’d be locked-up for that, which demonstrates the importance of context. For the cast, it’s been a wonderful experience. In rehearsals, members were writing on our WhatsApp chat that they’d had “the most bonkers day ever!” It’s been that kind of show!”

TOUR-DE-FORCE

Barrie describes the lead role as Max Bialystock as a “tour-de-force” and “one of the hardest male parts in musical theatre.” Taking on this demanding role, Chris Dale was superb and had good chemistry with co-lead Michael Boucher as Leo Bloom. 

Chris joined HAODS ten years ago, satisfying a desire to perform, despite having never sung or acted before. “For me, it's an opportunity to release a bit of energy,” he said. “After a long day, I go to HAODS and become someone else. I can dress up, add a touch of make-up, put on a voice and lose myself in a completely different character. If it was the normal me on stage, I’d probably freeze!” 

The Producers is Chris’ favourite musical and taking on the lead role has been a long-held ambition. “The Producers is a farce, full of silly, slapstick humour, but at its heart has a wonderful story and a stunning score,” he says. “It has the songs of a classic Broadway musical but with a bonkers Mel Brooks twist.”

Michael joined more recently and took on his first HAODS role in the previous production, Sister Act, the society’s first for two years. With Sister Act having been in the pipeline for so long, the return to a regular six-month timespan for The Producers meant the rehearsal period seemed comparatively frenetic. Michael is also a fan of the musical, even if it isn’t on everyone’s radar. 

“When you talk about The Producers, people have either never heard of it or absolutely love it,” he says. “I think the fact it has Hitler in it may put some people off, but if they watched it they’d be blown away. Certainly, it was great fun to be a part of.”

GOOD RAPPORT

Bloom’s love interest is Ulla, played by Kat Merrick. Ulla is the only major female role in a male-dominated production (a reversal of Sister Act and the upcoming production of 9 to 5, both of which will be directed by long-serving female members of HAODS) and this marks Kat’s first involvement with the society. 

She said: “I only moved to Horsham from London last year and the first thing I did was research amateur dramatic societies. I knew it would be a good way to make friends and everyone here has been very welcoming. Being cast as Ulla was unexpected and it’s been brilliant working on The Producers, as my previous society only staged Gilbert and Sullivan musicals.”The social benefits ensure that HAODS remains strong 65 years after it was founded, despite a difficult period. COVID limited the society to one show in a two-year period where they’d normally have four or five. Prior to that, the society was forced to move fro its long-term home at Broadbridge Heath Leisure Centre, which was demolished to make way for The Bridge. HAODS House - which includes a workshop, rehearsal space and storage for its vast collection of costumes and props - is now in Hurst Road. 

Martin Bracewell, Production Manager on The Producers, said: “When we were looking for a new base, the most important thing was to keep the rehearsal and workshop space in the same unit. It’s important to have a close relationship between cast and crew. That’s one reason why the society has a community feel.” 

“I’ve been in other societies where there’s little interaction between the actors and those behind the scenes. They’re treated almost as second-class citizens. Here, people get involved in all aspects of the society and that's our strength. It’s diverse and inclusive, with people of all ages involved in HAODS and Junior HAODS, and that’s why people stay here for so long. I met my wife, Becca, at HAODS and there are several other married couples too, so the HAODS dating agency is going well!”

BANKER SHOWS

As well as painstakingly making colourful costumes, creating impressive props and sets and choreographing dance routines in-house, the society hires a Musical Director for its productions. As well as providing a few nights’ work to professional musicians, the sound created by a 12-piece live band give shows a professional quality, worthy of the Capitol stage. This makes it more important for productions to play to big audiences, to recoup the substantial costs involved. However, the need to balance the books must be considered along with the creative desires of the cast and crew, as Martin explains…

“Audiences loved The Producers and the feedback has been fantastic. It just didn't sell enough tickets. However, we always suspected that would be the case. As a society, we take a rollercoaster approach. There are “banker” shows like My Fair Lady, which people know and love, or Annie, which has lots of roles for children and that equally helps at the Box Office, while also potentially engaging new audiences and cast members.” 

“But to satisfy our internal creativity, we need to offer variety and occasionally choose something that’s more edgy, like Made in Dagenham or The Witches of Eastwick. In recent years, we’ve staged A Midsummer Night’s Dream and Wendy and Peter Pan, which are more akin to theatrical plays and gave people the chance to test themselves as actors and improve their stagecraft. The Producers falls into this category. Sister Act was a huge hit, but The Producers gave many cast members the opportunity to fulfil a long-held ambition.”

Further information: For HAODS membership enquiries, visit www.haods.co.uk