Mel Brooks’ hit Broadway musical The Producers is famous not only for its outrageous comedy but also for its unforgettable score. Packed with clever lyrics, big show-stopping numbers, and hilarious parodies of musical theatre itself, The Producers songs bring the characters’ wild schemes to life. Below, we break down every song from The Producers, so let’s get this show on the road, shall we.
Act 1
The first act introduces Max Bialystock, Leo Bloom, and the outrageous plan to make money by producing the worst Broadway show in history.
Overture
The orchestra sets the stage with a lively overture that blends melodies from the songs to come, giving the audience a taste of the comedy and chaos ahead.
Opening Night
Max Bialystock is introduced as a once-great Broadway producer whose latest show has flopped. The chorus laments the disaster, immediately immersing us in the world of failed productions.
The King of Broadway
In this number, Max reminisces about his glory days as a successful producer. Full of braggadocio and fading grandeur, it paints Max as a larger-than-life figure desperate to reclaim his former fame.
We Can Do It
This duet is where Max convinces Leo Bloom to join his outrageous scheme (to create the world's worst musical in order to bag a ton of cash). Their comedic back-and-forth showcases their contrasting personalities and sets the partnership into motion.
I Wanna Be a Producer
Leo dreams of escaping his dull life as an accountant in this fantasy production number. Surrounded by glamorous showgirls, he imagines a future of excitement and showbiz success.
Der Guten Tag Hop-Clop
This eccentric solo introduces Franz Liebkind, the former Nazi who wrote the musical Springtime for Hitler. With absurd Germanic flair, Franz reveals both his devotion to his pigeons and some serious dance moves.
Keep It Gay
When Max and Leo seek out Roger De Bris to direct their guaranteed flop, Roger and his assistant Carmen perform this hilariously camp number. It’s a tongue-in-cheek celebration of showbiz excess that parodies Broadway stereotypes.
When You Got It, Flaunt It
The Swedish bombshell Ulla auditions for Max and Leo with this cheeky showstopper. Brimming with confidence and comedic double entendre, it cements her as both a love interest and a scene-stealer.
Along Came Bialy
Max rallies his wealthy widows to invest in Springtime for Hitler. Tap-dancing with walkers, the ensemble of little old ladies helps Max secure the financing he needs in one of the funniest sequences in the show.
Act I Finale” (“We Can Do It – Reprise” / “In Old Bavaria” / “Where Did We Go Right?”)
The act closes with the team assembled and Springtime for Hitler ready to begin rehearsals. The finale blends reprises and new material to create a chaotic, triumphant ending that sets up the disaster (or success) to come.
Act 2
The second act follows the disastrous (read: successful) opening of Springtime for Hitler, and the fallout for Max and Leo.
It’s Bad Luck to Say ‘Good Luck’ on Opening Night
The cast pokes fun at theatre superstitions in this high-energy number. Determined to make the show a flop the producers greet each cast member, wishing them ‘good luck’ instead of the preferred ‘break a leg’. Their cheeky warnings set the stage for the unexpected success of Springtime for Hitler.
Springtime for Hitler
Perhaps the most famous of The Producers songs, this outrageous parody is the centrepiece of the show. With over-the-top costumes, choreography, and satire, it transforms what was meant to be a disaster into a roaring success.
Where Did We Go Right?
Shocked by the hit status of their show, Max and Leo wonder how their plan has failed so spectacularly.
Betrayed
In this fast-paced solo, Max reviews the events of the entire show in a hilarious recap. Feeling abandoned by Leo, who has run off with Ulla, Max vents his frustration while giving the audience a witty summary.
Till Him
This heartfelt duet sees the two partners reconcile, acknowledging their friendship as the true reward. Amidst all the farce and chaos, it’s one of the most sincere and touching songs in The Producers.
Prisoners of Love
The finale is a parody of classic Broadway curtain-call numbers, featuring Max, Leo, and the entire ensemble. It ties up the story with a flourish, celebrating love, friendship, and showbiz.
Why The Producers songs still stand out 60 years later
The songs in The Producers combine sharp comedy with Broadway spectacle. From the heartfelt sincerity of “Till Him” to the outrageous satire of “Springtime for Hitler,” every number adds to the farce while paying homage to musical theatre traditions. Mel Brooks’ score ensures that The Producers remains one of the funniest and most musically memorable shows in modern theatre.