THE PRODUCERS Makes a Triumphant Leap from the Menier to the West End

These days, West End transfers can sometimes feel like well-trodden territory—predictable, even. But not this one. When a show that earned a record-breaking 12 Tony Awards lands in London, theatre fans inevitably sit up straighter. And when that show emerges from the intimate, ever-inventive Menier Chocolate Factory, you know you’re in for a treat. The Menier is renowned for reinterpreting classic musicals in ways that remain faithful while also giving them a fresh perspective. Their success with shows like FIDDLER ON THE ROOF and MERRILY WE ROLL ALONG is ample proof that they bring a certain alchemy to each production.

The original West End run of THE PRODUCERS famously starred Nathan Lane and Lee Evans, who stepped into roles created on Broadway by Matthew Broderick and Lane. Yet it’s never enough to rest on the laurels of starry antecedents. One reason everyone’s been talking is the Menier’s proven track record of championing more intimate, actor-driven performances. They take musicals that could easily default to broad comedic strokes and make them feel personal, urgent, even a bit subversive.

The West End hasn’t forgotten the comedic chaos that THE PRODUCERS can unleash—nor has the show’s devoted following. According to a major London ticketing site, mentions of the musical spiked significantly during its Menier run, with a notable 40 percent increase in online searches. That curiosity clearly paid off: the final curtain fell at the Menier on 1 March, yet word of mouth never waned. The announcement of the Garrick Theatre transfer has only amplified that buzz, marking 30 August as the official start of previews, before an eagerly awaited opening on 15 September.

How The Menier Chocolate Factory Cast Won Over Audiences

The success of the Menier run can be largely attributed to a stellar cast that fearlessly tackled Brooks’ comedic minefield. Leading the pack as the scheming producer Max Bialystock was Andy Nyman, an actor whose repertoire spans everything from FIDDLER ON THE ROOF to on-screen appearances that show off his versatile flair. His performances have been praised for a warmth beneath the mania—perfect for a role that demands you love the rascal even as he manipulates hapless investors.

Opposite him as the neurotic Leo Bloom was Marc Antolin, a performer with credits like I Wish You Well under his belt. If you think you’ve seen every version of the shy, anxious sidekick, Antolin’s spin might just change your mind. His comedic instincts, coupled with a boyish sincerity, made Bloom’s anxiety both hilarious and strangely endearing. When the pair launched into WE CAN DO IT (the show’s irrepressible blueprint for a “guaranteed flop”), the Menier audience practically vibrated with laughter.

In a show brimming with eccentric characters, it’s tricky to single out favourites, but Trevor Ashley as Roger de Bris (the flamboyant director roped into staging the doomed play Springtime for Hitler) nearly stole the show. Known for cabaret hits like DIAMONDS ARE FOR TREVOR, Ashley brought new dimensions to Roger’s over-the-top persona. And by his side was Raj Ghatak as the ever-devoted Carmen Ghia, ensuring that every comedic double-take landed on the bullseye.

Rounding out this colourful ensemble were Harry Morrison (proving his comedic chops as Franz Liebkind, the Nazi pigeon-keeper turned playwright) and Joanna Woodward as the sultry Swedish secretary Ulla. Each actor demonstrated a keen sense for the fine line between comedic excess and genuine pathos—a balancing act that underpins Brooks’ madcap universe.

A Peek At Brooks’ Legacy

Of course, one can’t talk about THE PRODUCERS without honouring the creative genius behind it: Mel Brooks, who wrote the music, lyrics, and co-authored the book with Thomas Meehan. As improbable as it sounds, Brooks has turned his comedic flair for taboo-busting into a beloved institution. Originally a black-and-white film in 1967, then a smash Broadway hit in 2001, THE PRODUCERS sprang from that classic premise of “Let’s produce a terrible show, oversell the shares, and run away with the money.” The comedic friction arises when the dreaded flop becomes an unexpected success. There’s something audaciously satisfying about rooting for con artists with hearts of gold, especially when their mischief is set against the flamboyant world of Broadway productions.

It’s worth remembering that the original Broadway production with Nathan Lane, Matthew Broderick, and Cady Huffman set a Tony record by bagging 12 awards. Even after all these years, that achievement still stands out as a monumental crowning moment for a musical comedy. Subsequent productions worldwide have tried to capture that alchemical blend of irreverence, spectacle, and vaudevillian wit. The Menier revival is no exception, harnessing the unstoppable comedic power of Brooks’ script while injecting a fresh creative spark all its own.

Why The Garrick Is An Ideal Fit

The Garrick Theatre, with its central location and storied history dating back to 1889, is a cosy yet grand venue that can strike precisely the right chord for this production. The Menier Chocolate Factory is famously intimate, seating only a few hundred. But transferring that spark to the Garrick doesn’t mean losing the show’s close-knit atmosphere. In fact, the Garrick’s architecture—where every seat feels in on the joke—should serve the production perfectly. That closeness helps preserve the audience’s sense of complicity in the comedic chaos, an element that has always been crucial to THE PRODUCERS’ success.

Additionally, the Garrick’s stage layout allows for swift set changes and dynamic blocking, vital in a show where comedic timing is everything. If the Menier’s version had you snorting into your programme, just imagine how the action might expand on a bigger West End stage without sacrificing the cheeky sense of camaraderie that delighted audiences in the smaller space.

The Extraordinary, Unfinished Story

Producer and Menier Artistic Director David Babani was quick to emphasise his pride in the entire creative team, calling the production’s original run a “joy from start to finish.” But the journey isn’t over; in many ways, it’s just begun. By partnering with Nica Burns, Max Weitzenhoffer, Kevin Salter, Seaview, Creative Partners Productions, and 2ontheaisleBDWY, the show’s producers have assembled a formidable coalition that spans both sides of the Atlantic. What’s especially intriguing is how these producers might adjust or expand the show for its West End incarnation—new costumes? Additional comedic twists? We’re left deliciously in the dark, waiting for further announcements.

One element that’s always worth watching is how the ensemble grows or shifts in a transfer. While we’ve been assured that much of the Menier cast will be reprising their roles, there may be a few new faces. A show as raucous and dynamic as THE PRODUCERS could only benefit from a couple of wild cards in the mix, so keep an eye out for upcoming casting revelations.

The Undersung Genius Of Franz Liebkind

As flamboyant as Roger de Bris can be, as outrageous as the choreography behind Springtime for Hitler might appear, one character often overshadowed is Franz Liebkind, the hapless ex-Nazi pigeon enthusiast who writes the bomb intended to sink these unscrupulous producers. Yet it’s he who inadvertently sets the entire mad escapade in motion. Portrayed by Harry Morrison in the Menier’s production, Franz’s role is both comedic and surprisingly poignant. Yes, he’s a delusional ex-soldier, but there’s an earnestness that underscores his misguided patriotism. The notion that someone could put their whole soul into writing such a catastrophically inappropriate piece speaks to how passion can sometimes blind us. The character is a stinging reminder that comedic extremes in Brooks’ work are never without a grain of bittersweet truth.

A Celebration Of Risk

One reason THE PRODUCERS continues to captivate is that it’s essentially a satire about theatrical ambition itself. In a landscape where financial backers often seek surefire hits, Bialystock and Bloom do the opposite—they bank on a show that has every reason to fail. Their misadventure encourages us, albeit with a wink, to embrace uncertainty. After all, sometimes the biggest flops can become the greatest successes. This cheeky ethos has resonated more than ever in recent years as theatre companies around the world wrestle with how best to innovate in challenging times.

Data from the Society of London Theatre suggests that comedic musicals are consistently among the biggest audience draws, particularly in times of economic or social strain. People crave laughter and escapism—and if it comes with a side of scandalous show tunes, all the better. So, in a sense, THE PRODUCERS is exactly what the doctor ordered: a comedic romp that makes us forget, even if only for a couple of hours, the heaviness of everyday life.

The Countdown Begins

Tickets for the Garrick Theatre run go on sale soon (or are already available, depending on when you’re reading this), and seats are likely to vanish quickly. One might say that both producers and fans are crossing their fingers for a rousing success. Odds are, though, that the show’s track record speaks for itself. If you love musicals that skew irreverent, bold, and just a tiny bit scandalous, this revival will be your perfect night out.

Given the unstoppable chemistry between Andy Nyman and Marc Antolin, the comedic mastery of Trevor Ashley and Raj Ghatak, plus Brooks’ peerless script, the question isn’t whether you should see THE PRODUCERS—it’s how soon you can get there. Mark those calendars: previews begin 30 August, and the official opening on 15 September is sure to be a star-studded affair.

In an era when many shows are content to play it safe, THE PRODUCERS is a glorious reminder that theatre is at its best when it dances on the precipice of decency. It’s a celebration of creativity gone joyously awry, a comedic gem that somehow keeps offering new surprises no matter how many times you’ve watched it. And if the Menier Chocolate Factory’s run was any indication, the West End can expect unstoppable bursts of laughter reverberating through the Garrick’s walls. So, get ready for pure, unadulterated Brooksian pandemonium. After all, in the words of the producers themselves: “We can do it!” And they certainly have—deliciously so.