HYSTERICS—Leo Bloom (Bobby Dantona), right, finds comfort in his blue blanky as Max Bialystock (Bart Sumner) looks on in the "The Producers" at the Simi Valley Cultural Arts Center.

Any discussion of the musical "The Producers," now playing at Simi Valley Cultural Arts Center, will involve comparison with the 1968 movie written and directed by Mel Brooks.

The musical, which premiered in 2001, makes significant changes to the film's story. Those who enjoy snappy songs and elaborate dance numbers will be entertained, but film purists may feel cheated.

Brooks and Thomas Meehan wrote the musical's book, which required expanding the 90-minute screenplay into a three-hour show. The added material injects romance and character development into the mix but dilutes the film's sharp wit and satirical bite.

The play begins on opening and also closing night of another Broadway flop produced by Max Bialystock (Bart Sumner). He finances his shows by seducing sex-starved little old ladies.

When accountant Leo Bloom (Bobby Dantona) audits Max's books, he discovers a can't-fail scheme: Raise millions of dollars from numerous backers, produce an awful show guaranteed to fold, and run with the money. Leo expresses a lifelong dream to produce a Broadway show, and Max convinces him to put the plan into action.

They find a dreadful script, "Springtime for Hitler," a love letter to der Führer penned by exNazi Franz Leibkind (John McCool Bowers), who raises pigeons in Greenwich Village.

The producers hire Broadway's worst director, Roger DeBris (Sean Harrington). DeBris comes with a flamboyant lover/ assistant, Carmen Ghia (George Chavez), and a production team that embodies every swishy gay/ butch lesbian cliché.

Max also employs the young and inept Ulla (Sarah Hertweck) as his secretary/receptionist. She's a beautiful Swedish gal who can't speak English but offers plenty of body language.

A show this bad shouldn't succeed—but it does. When the critics call "Springtime" a hit, Max and Leo can't afford to pay their backers and face jail time.

Brooks wrote all the songs, which are clever, fun, catchy and tinged with a Yiddish flavor. In one of the best, "Betrayed," Max reviews the entire show in a few verses.

Director Fred Helsel and choreographer Becky Castells have staged lively dance numbers, each a gem. Standouts are "The King of Broadway"; "I Wanna Be a Producer," featuring a routine by Leo's fellow and equally boring accountants; and "Along Came Bialy," in which the little old ladies conduct a strange but cute dance with their walkers. The ladies are played by young ensemble members in wigs—hardly convincing.

The dazzling showstopper "Springtime For Hitler" has Bryan Friedman in fine voice as the lead stormtrooper singing the dictator's praises while German peasants, showgirls and brownshirt soldiers tap dance. It's as funny as it is outrageous.

Bowers has some of the best numbers, including "In Old Bavaria," sung to his caged pigeons as they sway along, and a delightful slapstick dance, "Der Guten Tag Hop-Clop," performed with Max and a limber Leo. Bowers creates a wonderfully daffy and lovable Franz.

The costumes are inventive and eye-popping.

One disappointing omission from the film is Dick Shawn's hippie actor character and his groovy song, "Flower Power." Perhaps the '60s character was too dated for a 21st-century musical. Filling the void are expanded roles for Franz, Ulla and DeBris.

Another change is Ulla, an airhead in the film but now an aggressive sexpot. Hertweck sings beautifully, and she and Leo have a sweet dance number together, but their romance lacks sparks.

The musical adds many bawdy and gay jokes, which, considering the already high caliber of comedic writing in the show, seem gratuitous. Some will find the jokes hilarious, and others may be offended or tired out by the gutter humor. Leave the kids at home.

The ending deviates substantially from the movie, although the song of friendship between Leo and Max, "'Til Him," plays better than one might expect.

As for the show's anchors, Dantona's Leo doesn't come across as mousy or nerdy enough.

The musical was written too much for a New York audience, with characters saying lines like "Why do you walk away from me stage right?"

"The Producers" the musical is like New Coke: It's enjoyable and refreshing but not as tasty as the Classic.

Due to limited parking in the lot, patrons should arrive early to find parking and also park within the lines to free up spaces for everyone. The musical runs through April 5 at 3050 E. Los Angeles Ave., Simi Valley. For tickets, call (805) 583-7900.