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“I strapped on that Sony Walkman and went for a little jog, and I wrote the song on that jog,” he says.

Although they do not sing a song from the actual musical, the circumstances and the setting during the ‘Funny Girl’ era of season five of ‘Glee’ are a direct mirror of the circumstances and the setting of this number next week’s musical.Lewis says former guitarist Chris Hayes wrote the lead progression for “The Power of Love,” after which Lewis took over. One of Tommy’s favorite numbers from next week’s musical was actually parodied in an episode of Glee. If you’ve never seen any of Chez Lindsay’s video essays, you’re missing out! No better place to start than her video on satire, Nazism and Mel Brooks. Scary to think that this video of Max and Leo making their triumphant return on Jimmy Kimmel was from a happier time. If you want to hear more about where the genius of Nathan Lane came from, take a gander at this Guardian article.

There’s this cool little thread which details some audience experiences of the myriad of Nathan Lane and Matthew Broderick’s ad-libs. Who doesn’t love a blooper reel? Well the one from ‘The Producers’ movie is one of the best. Vanity Fair also did this amazingly in depth article about the history of the movie here if you’re more into the written word! If you’re into it, have a look at the behind the scenes documentary for the original film including some great interviews with dear departed Gene Wilder. Take a look at his classy acceptance speech! If you haven’t seen the original Mel Brooks movie, then get on that NOW! Bask in the joy of forgotten character L.S.D. The Producers (Original Broadway Cast Recording) It’s Jim and Tomic’s latest show, will it flop or will it go? Well that’s for you to decide as we talk all about Broadway’s smash-hit – ‘The Producers!’ This week Jimi and Tommy are delving into the background of the show, the controversy of the original movie and work out which version tells the story best, they ponder why Nathan Lane isn’t the biggest comedic actor of all time and discuss the nature of ad-libs in contemporary theatre.