The musical version of the classic comedy “The Producers” is everything you’d expect a Mel Brooks musical to be: tasteless, tacky, bawdy and hysterical.

Will some people be offended by the stereotypes presented here? Probably, but it’s all done with such good-natured playfulness that most folks will be too busy laughing to object. The show, which won a record 12 Tony Awards in 2001, is now on a national tour which is playing an extended run at the Fox Theatre in St. Louis.

The plot remains pretty faithful to the 1968 movie that marked Brooks’ directorial debut. Neurotic accountant Leo Bloom arrives at the office of Max Bialystock, a hack producer who has just closed his latest flop. While going over the books, Leo points out that by selling more than 100% of a show to investors, a crooked producer could make far more money with a flop than he could with a hit.

After some arm twisting, Max convinces Leo to join him in this scam, and they then set out to find the worst script, the worst director and the worst cast they can. The end product is the hit musical called "Springtime For Hitler."

The hardest part for anyone playing Max or Leo is competing with not only the memory of Zero Mostel and Gene Wilder from the movie (now available on DVD), but also Nathan Lane and Matthew Broderick from the original Broadway cast. Lane’s performance as Max Bialystock, in particular, was a virtual master class in comic timing and vaudeville-style mugging.

Lewis J. Stadlen, the star of this tour, might lack some of Lane’s unique spark, but he does a fine job as the desperate producer. Stadlen has been honing this schtick for years on Broadway and off, and he knows how to deliver Brooks’ double and triple entendres.

He’s obviously been influenced by comedians like Jimmy Durante and Groucho Marx, and traces of those greats show up in his performance. But even so, Stadlen creates his own distinct character and has fun romping through songs like “It’s Bad Luck to Say Good Luck” and “Betrayed.”

Don Stephenson is appropriately nerdy and gawky as the nervous Leo. At times he sounds eerily like Matthew Broderick, but he is a very adept physical comedian with a pleasing tenor voice that allows him to put his own stamp on the role. Leo is the person we should care about the most, and Stephenson makes him a very sympathetic and lovable hero.

The supporting cast never eclipses the original Broadway troupe, but they are all pros who are in on the fun.

Lee Roy Reams earns all of his laughs as Roger DeBris, the effeminate director. His two big numbers, “Keep it Gay” and “Springtime For Hitler” are the two show-stoppers of the evening.

Michael Paternostro plays his equally effeminate “common law assistant,” Carmen Ghia. He received generous applause for his physical gyrations and for his hysterical exits, which left his wrist on-stage for a full 30 seconds after his body had exited.

Fred Applegate plays the nutty Nazi, Franz Liebkind, the author of “Springtime for Hitler.” His Jolson-inspired version of “Haben Sie Gehort Das Deutsche Band” was one of the best received musical numbers of the night, and his Sieg Heil-ing pigeons were also crowd pleasers.

Speaking of pleasing, Angie Schworer takes on the expanded role (from the movie) of the blonde-bombshell, Ulla. She looks incredible, sings well and has the funniest Swedish accent since the Swedish Chef from “The Muppet Show.”

The show itself is a hoot. Much of the credit goes to Thomas Meehan for helping Brooks streamline the script, and to Glen Kelly and Doug Besterman for helping Brooks orchestrate all of the music.

Director/choreographer Susan Stroman also deserves a great deal of praise for helping to transform this popular cult movie into a mainstream Broadway smash. She is one of the hottest directors working right now, and it’s easy to see why in such numbers as “I Want To Be a Producer” and “Along Came Bialy,” a number featuring a chorus line of tap-dancing grandmas with walkers.

But in the end, the real star here is Mel Brooks. As the author, composer/lyricist, producer and creator of the original movie, this is ultimately his triumph. Did the show deserve 12 Tony awards? That’s up for debate. But he did create a fun-filled, politically incorrect evening that will be playing on stages across the country for years to come.

The Producers will continue at the Fox Theatre in St. Louis until December 28th. Call 314-534-1111 for tickets.

_____________________________ Gus Gordon is the chief meteorologist at News Channel 20 and a free lance arts reviewer. He can be reached at gusgordon00@lycos.com