It is 10:30 PM on an evening in early June, 1959, in New York City. Fading Broadway producer Max Bialystock is opening his newest show, “Funny Boy,” a comic musical version of Hamlet (“Opening Night”). The theatergoers leave shaking their heads — the show is a complete flop and closes before the opening night is even over. Max reads the terrible reviews and laments the downward turn his career has taken, but he is determined to make it back to the top ("King of Broadway").
Leopold “Leo” Bloom, an accountant, arrives the next morning at Max’s shabby office to go over the books for the show. Max hurriedly shoves him into the bathroom to hide -- one of his elderly women supporters has come to pay him a visit. It turns out that Max has been playing a gaggle of little old ladies, trading affection for their regular checks. Leo walks out of the bathroom and in on a dirty game that this woman, dubbed Hold-Me-Touch-Me, is making Max play with her in order for him to
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