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Roger Bart & Gary Beach Ham It Up In "The Producers: Movie Musical" by Tim Nasson, Wild About Movies publisher December 15, 2005  New York City - "The Producers: The Movie Musical," is now in theaters, finally, after all the hype - and having to endure that 'other' musical brought to the big screen, that was a depressing bore, ("Rent").Roger Bart (Carmen Ghia) and Gary Beach (Roger de Bris), reprise their Broadway roles with such comedic genius that they actually outshine the leads, Matthew Broderick and Nathan Lane. Roger Bart, who is also on this season's "Desperate Housewives," and Gary Beach, sat together recently and, well, see for yourself, what they have to say about nearly everything that pops into their mind. Bart, by the way, is Variety's Peter Bart's nephew. Wild About Movies: the wild and crazy factor --- How far out did you plan to go? Did you push it or pull it for the movie?
Gary Beach-- it's the scene we talked about the most because it's very broad. Will [Ferrell] comes in with a gun, shooting the cast. R -- and we're thinking, what are we gonna do, be small in that scene? G -- the great thing about farce is that it's life and death at all times. R -- we have no choice. We knew we had to scream. We knew he had to say lines like, 'dahling, quick! Back in the closet!' It's hard to tone that down. But they trusted us, and they trusted the style. We're convinced that after about 60 or 70 minutes of the movie, you're really gonna adjust to it. WAM -- will Desperate Housewives fans flock to see this change of character? R -- that would imply that people loved george so much, that they'd say I can't wait to see what he's in next. It's really a question of whether they'll run from the theater when they first see me. but being a bad guy was thrilling. I'm, looking forward to the next really gay creepy role. WAM -- How big a kick is it to finally get to see yourselves doing the show? R -- But that was fun. I mean, how about throwing the therapist off the bridge? That was fantastic. But then my daughter's friends were scared to meet me. obviously [that part] is a huge chick magnet. People can't wait to date me. last year it took two or three dates to convince somebody I wasn't a homosexual. Now it's takes two or three to convince them I won't poison them or slip them a roofie. WAM -- Did the gay stuff have to be toned down for american audiences?
R -- 'we're here, we're queer. Come on over!' (he says that first part in a high voice, then he gets normal and serious). When they had the gladd awards, the first people they called for were us, and they wanted us to do 'keep it gay.' They loved it. gary and I played an incredibly successful couple. we were happy. We'd fight in the middle of a scene, and then I'd come back a minute later, with a smile on my face. I know I'm the only man in his life. (afterthought, delivered funny) except for the six guys G -- we play a very happy gay couple. R -- I think people just thought that we're joyous. And that's the most important thing. we were joyous because we were in a loving relationship, and we were joyous because we do want we want to do. G -- we put on shows. I would say that if you've done two musicals, then you know roger de bris, and you know carmen ghia (laughs). R -- well, I don't know of anybody who's ever come across carmen ghia. WAM -- This is an old-fashioned musical, which hasn't been around for a while -- G -- movie musicals used to be a huge staple of movies. prior to the 70s, musicals are what everybody went to the theater for on the weekend. Then I think we got into the mode of having realism. Well folks, it's really hard to be real ... and then sing. It looks silly. That's why, in our world, when someone says, 'YOU KNOW WHAT?', you're gonna hear a song, right away. Mel has written that show, and we're performing that show. And if the movie's successful, it's because we've all brought that from another era. WAM -- Did you enjoy finally being able to actually watch what you do? G -- I thought the top of my head was going to blow off while I was watching the movie the first time. there's excitement, your adrenaline's going, and you're thinking, 'everybody else is great!' you watch everything you do. But I'll see it a second time with my friends. R -- it is a little strange, but sometime around 2009 while I'm lying in bed and it comes on cable, I'd probably enjoy it a little more.
G -- my guess is that people were ready for mel brooks again. the idea of this show appealed to everyone, and there's such a fondness for mel throughout this country. I think it's the chance to revisit that, and have this kind of humor. R -- nothing against sondheim, but mel brooks did not have to put an article in the new york times explaining the show. This one is smart, but it's not so complicated. It's just nice to do a show that's character-driven and has a great story and fun jokes. G -- it's one of those show's that the more you know, the funnier it is, but you don't have to be brilliant to see it. WAM -- Audience reactions at the shows ... G -- we'd start off by scaring them a little in the first scene, so they'd wonder, 'where are they going with this? we hope there's no audience participation.' And by the end of the show they'd want to go out to dinner with us. R -- they'd want to get in the conga line.
WAM -- What was it like doing the transition from stage to screen? G -- I loved the reality of the sets, we were no longer dancing around on a proscenium stage with a drop behind us. We were in a room, with four walls, and it did something to your performance. We're living in the world of mel brooks here. R -- I've never forgotten mel brooks in 'blazing saddles,' with his eyes crossed, looking at a pair of probably 38-F breasts, and going, 'hello, boys!.' That's the guy who wrote this show. G -- very early in rehearsal, he came in with a statement that says it all -- 'don't tap the bell, ring the bell. R -- and I think we did that, probably a little loud.
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G -- no, it didn't have to be toned down. It is what it is. it's our world. you walk into the home of carmen ghia and roger de bris, and it's our property.
WAM -- Why is this play and movie working?
