Last Saturday night the "art zone" of Old Town Newhall felt a bit like Broadway must, with the anticipation of the curtains for two big shows going up at 8 p.m. Parking was hard to find and eager theater patrons roamed the sidewalks. There was definitely an excited energy in the air.

Now, when it comes to the theater, life often imitates art, and, in this case, the hubbub fit perfectly with the opening of "The Producers" at the Canyon Theatre Guild. In this show the action kicks off with theater patrons coming out of the opening of producer Max Bialystock's latest show.

Unfortunately for Bialystock, his show is a flop.

But that's good news for real-life CTG patrons, as the resulting story in "The Producers" works. I mean it really works.

Only slightly different from the movie you might remember, this show is just top shelf, with colorful characters, great music and dancing, and you'll-need-a-tissue laughs.

Kudos to the choreographers, as well, and I found myself wanting to check under the stage for the orchestra. The music and timing and voices and dancing were marvelous, and it was just fun, fun, fun.

Beyond that, whenever the ensemble held a pose at the end of a musical number, it felt like eye-candy. This was the first time I remember wishing I could take photos at a play. This is a credit to the actors and lighting crew and, certainly, a product of the colorful costumes.

In fact, Patti Finley, assistant director of the CTG and artistic director of its family season, said the costumes were quite a production, and they were still being worked on 45 minutes before the show opened.

The play's director, Leslie Berra, noted that her emotions run high, and as much as she enjoys the grit of shows such as "Rent," she also enjoys fun, so "The Producers" was a natural fit. The show pokes fun at a lot of people, and Berra quoted its creator Mel Brooks as saying "Good taste is the enemy of comedy."

The story is not to be taken seriously, of course. You simply abandon yourself to the outrageousness and have a great time. But Berra felt there is also a depth and structure to the story, as Max and Leo form their friendship, Leo grows in self confidence, and subtle messages are played out about tolerance and acceptance.

When asked what personal "stamp" she put on this production, Berra felt her greatest contribution was in casting it well. "Everyone worked together for inspiration," she said. And she added that her assistant director, Marlowe Weisman, "noticed the little things that I didn't."

If you need a primer on the plot of "The Producers," suffice it to say that Max and his accountant Leo Bloom cook up a scheme to raise $2 million to produce a play (Max romancing little old ladies to accomplish it), all the while doing everything they can to ensure the play will be a flop and close on opening night. Thus they can pocket the money and no one will ask questions, as no one will expect a return on their investment.

In their efforts to create a sure-fire flop, they seek out the worst-ever script, lead actor and director. And, therein lies the fertile ground for comedy.

There are six "leads" in this play, but the ensemble brings it life, supporting the plot, of course, but even more importantly creating marvelous singing and dancing numbers. A stage full of old ladies in silver wigs and purple dresses, moving their walkers to the beat, will forever be etched in my memory.

Joe Miele plays producer Max Bialsystock. He has a lot to overcome here, as round-bodied, over-the-top funnyman Zero Mostel will forever "be" Max Bialystock in most folks' minds, I would assume. Miele is not comedic to look at, so whatever he accomplishes comes from acting ability.

Honestly, it took me a little while to make the transition. But Miele's energy and talent soon took over and this issue was forgotten. He makes a great Bialystock. You just have to understand the lines were written for somebody else when Leo calls him fat.

David Kenny plays fearful accountant Leopold Bloom. Now Kenny, with his wide eyes and shocked expressions, is more physically suited to the Leo character. He also is bubbling over with energy, and the interactions between he and Miele really bring the story depth.

Billy Davis plays Roger De Bris, the transvestite play director. From his first entrance, appearing about eight feet tall with heels and "tiara," he hits a home run. His blue eyes popping and his bemused looks only add to the "diva" effect. To look is to laugh, and Davis shows quite a range, as well.

Tom Lund plays Carmen Ghia, Roger's "assistant," with an over-the-top gayness that perfectly suits the part, and plays with and off Roger hilariously. At one point they hiss at each other like cats.

Carole Catanzaro plays Ulla, the Swedish actress-turned producers' receptionist. Now, Ulla is supposed to be a babe, and Catanzaro is definitely that. However, Ulla is also supposed to be sort of dumb and naïve, and I just couldn't help but read a little too much light behind Catanzaro's eyes for this - almost as if she was working under cover.

However, I soon got past this and bought her Swede-ness and sweetness - and rooted for Leo to win her. So, good job.

George D. Cummings plays the Hitler-loving playwright Franz Liebkind. So, OK, any guy in a German helmet and lederhosen is going to look funny - but Cummings adds the enraptured innocent eyes, bobbing eyebrows, guttural German accent and wacky dancing to carry this over the top.

You laugh when you look, you laugh when you listen - and well, you can't stop laughing. Marvelous job. And his "singing" pigeons are a crack-up as well.

I would be remiss without giving a shout-out to Carol Rock. As a chorus girl, she takes some abuse and comes back grinning. As the butch stage hand, she carries off her character fully, yet quietly, in the background. Great attitude.

Let me emphasize that the "funny" in this show carries through some of the musical numbers, so you have to keep watching closely. But more than that, the music and dancing bring the whole thing a big-production life that will carry you away.

jwalker@the-signal.com