Why Hasn’t 'The Producers' Been Revived on Broadway Yet?

Leo Bloom (Matthew Broderick) and Max Bialystock (Nathan Lane) sing "We Can Do It". Photo Credit: Paul Kolnik

by Chris Peterson, OnStage Blog Founder

Here’s a question that’s been stuck in my head for months, and I just can’t shake it—why hasn’t The Producers been revived on Broadway?

Seriously. We’re talking about The Producers. The musical that turned a classic Mel Brooks film into a full-blown Broadway phenomenon. The show that brought Nathan Lane and Matthew Broderick together and watched them explode into theatrical history. The show that racked up more Tony Awards than any other musical. It was a sensation. A juggernaut. A showbiz earthquake. And yet… crickets. Nothing. Not a single Broadway revival in over 20 years.

Why? I’ve got theories.

Maybe the ghost of the original production just looms too large. That 2001 staging was pure magic. Lightning in a bottle. Lane and Broderick were the kind of comedic pair you don’t even bother trying to replicate. Stroman’s direction, the sets, the choreography, the giant swastika backdrop—it was bold, brash, ridiculous in all the best ways. And maybe the thinking is: why mess with a masterpiece?

But let’s be honest. Broadway messes with masterpieces all the time. It’s practically the house style. Company flipped genders. Oklahoma! went minimalist and still hit hard. So the “don’t touch it” argument doesn’t hold water.

We’ve also seen shows from that era be revived already (The Color Purple, Spring Awakening, Ragtime twice), so why not The Producers?

Is it the subject matter? Nazis, showbiz greed, flamboyant directors, and an entire number called “Keep It Gay”? Maybe some folks are nervous the humor won’t land in today’s climate. But The Producers was always risky. That’s the point. It pushed buttons. It danced on the line and winked while doing it. It was Mel Brooks unfiltered, and that’s what made it brilliant. We need satire. We need big, fearless comedy. And honestly? A revival would be the perfect reminder that sometimes laughter is the best protest.

Or maybe it’s a casting issue. People assume you need another Nathan Lane to make it work. And sure, Lane was perfection. But this isn’t about finding a copy—it’s about finding a fresh voice. Imagine someone like Alex Brightman taking a swing at Bialystock. Give me a wildly neurotic Leo Bloom played by Brandon Uranowitz. The talent’s out there. The show just needs the greenlight.

And before you say the appetite isn’t there—tell that to London. The Menier Chocolate Factory production is headed to the West End this fall, officially opening at the Garrick Theatre in September after a critically acclaimed run. If London is ready to roll out the red carpet for The Producers, what exactly is Broadway waiting for?

Let’s not forget: The Producers is a love letter to Broadway itself. A big, glittery, tap-dancing valentine to everything absurd and wonderful about this industry. If there was ever a time we needed that back on stage—loud, proud, and unapologetically funny—it’s now.

So what’s the delay? If Broadway can revive Spamalot, we can absolutely bring back The Producers. There’s a new generation that’s never experienced “Springtime for Hitler” live, never felt the pure, chaotic joy of that overture, never laughed so hard they cried during “Betrayed.” That’s a shame. Let’s fix that.