In New York in 1959, we are at the opening night of Max Bialystock's musical version of Hamlet, Funny Boy.
It is terrible and the show closes after one performance.
Max, who was once called the King of Broadway, tells a crowd of passers-by of his achievements and vows toagain become the King of Broadway.
What happens next is a farcical romp by Musikmakers through the back streets of New York fantasia theatreland, complete with evil intent, criminal accountants, good and bad guys, Swedish vamps, camp actors, bad actors, even worse scripts and terrible direction all leading to a totally unrehearsed Broadway success.
The Producers embraces a show penned by a pigeon-fancying former Nazi (rewritten with the Germans winning the war) all financed by little old ladies.
