When the military take the offensive, it's time for the rampaging reptile to demolish Manhattan.'Godzilla' goes beyond insulting its audience and makes the grave error of forcing our sympathy away from…He can sing, he can dance, he can tell wonderful Jewish jokes and his portrayal of the repellent Labour spin-doctor Eddie in the farce Feelgood last year sent West End audiences hysterical.He'd also been much appreciated when he made his debut on Broadway in Yasmina Reza's boulevard comedy Art, so he wasn't a completely unknown quantity.Broderick and Alda star as a nephew and uncle who form an unusual bond over their separate neurological problems in this well meaning but painfully obvious life-lessons comedy, adapted from Sherwood Kiraly's novel.In Hunt's directorial debut April (Hunt herself) loses a husband and adopted mother but gains an over-bearing birth mother (Midler) and a British love interest (Firth).If all had gone well, the plan was for him to lead the show into London, but that can't be on the cards now, and there aren't a lot of other suitable names that immediately spring to mind, especially as the role of Bialystok requires considerable vocal prowess and stamina as well as a gift for eye-popping farce.Maybe The Producers will go down in the annals as one of those shows, like Funny Girl, that doesn't outlive its first incarnation.
Goodman has had huge success in London in Guys and Dolls, Assassins and Chicago.Where the musical had previously scored wasn't in the spectacle or the songs - they're never much good nowadays - but in the presence of Lane, who played Bialystok in a terrific double act with his straight guy, Matthew Broderick.Lane is fat, lovable, vastly camp and totally harmless - an American cross between Elton John and Frankie Howerd. As London audiences who saw his recent Olivier-winning Shylock will recall, he oozes danger, cruelty and anger.Seeking drama in the endings and beginnings of relationships, no one involved achieves fulfilment, including the audience.Lame, unfunny and forgettable family comedy about one-upsmanship, jealousy, clashing neighbors, home decoration … The leads (Broderick and De Vito) look bewildered by the depths to which they have sunk.One can imagine what the thought process running through the mind of The Producers' director Susan Stroman might have been: Lane is a one-off, and there is nobody like him, so just for once, riding on the back of the show's sell-out success, let's push the boat out and try someone completely different.Remember how Glenn Close amazed everybody by lighting up Sunset Boulevard. Lane had been brilliantly teamed with Broderick, but Goodman didn't enjoy the same Morecambe-and-Wise chemistry with his co-star Steven Weber.Nur wenige Menschen kommen mit einer lückenlosen Zahnreihe durchs Leben. So kann ein Zahn durch einen Sportunfall (meist ein Frontzahn), starke Karies oder eine Erkrankung des Zahnfleischs (Parodontitis) verloren gehen.Dann hilft nur ein Zahnersatz, diese Lücken wieder zu schließen.What the whole storm in a teacup does graphically illustrate is the extraordinary difficulty of casting musicals. Nobody would rationally have thought that an actor best known for playing the gormless Frank Spencer in the sitcom Some Mothers Do 'ave 'em could have risen to the Byronic charisma required for the title role of The Phantom of the Opera, but Michael Crawford did just that.Even her most ardent admirers would admit that Judi Dench can't sing for toffee, but she is remembered as a heartbreakingly wonderful Sally Bowles in Cabaret.Lane's humour is comfortingly white and cuddly; Goodman's is disconcertingly black and biting.And Broadway audiences, still shell-shocked by September 11 and desperate for some escapism, just didn't like it."Matthew and Nathan clicked," the anonymous cast member continued.