Brooks fans may be familiar with the show, which is based on his 1968 film of the same name that won him an Academy Award. However, as good as the movie is, there’s something to be said for watching all the crazy antics unfold live on stage.

Max Bialystock (Brad Oscar) is a washed-up musical producer who can’t catch a break. His shows are consistently panned by critics and audiences alike, and he’s had to resort to prostituting himself to elderly women in order to fund his next show.

Then, along comes Leo Bloom (Andy Taylor). Leo is a nervous accountant who’s brought in to help Max balance his books when he accidentally stumbles upon a get-rich scheme that Max can’t wait to take advantage of. His idea? Raise enough money to produce a show, and make sure it’ll be a flop — then, when it gets yanked from Broadway, pocket the leftover cash and scram!

The show they select is “Springtime for Hitler” — “A gay romp with Adolf and Elain Berchtesgaden.” It lifts the German dictator onto a pedestal and sets the story of World War II to music. Max and Leo are certain it will flop, but when it doesn’t, they’re left trying to figure out how to escape before they end up in Sing Sing.

Oscar milks his character for every drop he’s worth. His Max is smooth, charming and irresistible, and his exaggerated facial expressions and gestures are simply a joy to watch. It’s easy to see why, when Nathan Lane left the Broadway production, he was selected to fill his shoes. Those who see this production are lucky Oscar chose to take his performance on the road, for it’s hard to imagine anyone fit better for the part.

Oscar’s counterpart, Taylor, is also endearing to viewers, but it takes him a bit longer to come into his own during the performance. When he first enters the show, he lacks much of a presence and is somewhat hard to hear; it’s made even more noticeable by the tremendous talent displayed by Oscar in the role of Max. However, it doesn’t take long for Taylor to shine in the role of Leo and the performance he gives is nearly as unforgettable as Oscar’s.

The most memorable aspect of “The Producers,” though, is without a doubt the production of “Springtime for Hitler.” Every German stereotype imaginable is compressed into a 10-minute song, and it’s fantastically funny. Tap-dancing Nazis in the shape of a swastika creates the culmination of the show, and it’s reflective of Brooks’ wry sense of humor.

It’s not just the big numbers such as that one, though, that make “The Producers” such a delight to watch. There are creative touches throughout the performance that are illustrative of the care that director Susan Stroman took when putting together her production.

For instance, during “In Old Bavaria,” Nazi supporter Franz Liebkind (Bill Nolte) is backed up by his doves, whose wing motions and Nazi salute — as well as the swastikas they wear around their wings — add to the hilarity of the scene.

Also fantastic is the set. It pops with color and perfectly showcases the actors performing — it doesn’t draw too much attention away from them, but rather it accentuates the scenes they are performing. As the production moves from one scene to the next, the set pieces are exchanged with an ease that is remarkable, as are the costume changes.

“The Producers” is a timeless musical that is a perfect example of the wittiness possessed by one of the most talented writers of our time. Brooks’ sardonic wit, combined with the sheer talent of the actors in this production, creates a show that is simply a joy to behold.

After all, how often do you get to see someone dressed as Hitler singing “A Wandering Minstrel I”?