The Producers have got a sure fire hit on their hands. As bewildered producer Max Bialystock asks when he realises that against all the odds the audience loves his Springtime For Hitler show: ’’Where did I go right?’’ It’s not just down to Mel Brook’s brilliant laugh-a-minute, wickedly un-PC script. Or to the stream of witty and catchy tunes that adorn this remake like sequins on a showgirl’s costume. No, it’s the irresponsible Nathan Lane, as the desperatelycorrupt Bialystock and his Peter Pan-like sidekick Matthew Broderick as neurotic accountant Leo Bloom who steal the show. And having fabulously sexy Uma Thurman playing leggy Swedish secretary Ulla is hardly going to put people off. This is the clever story of down-on-his luck Max, who teams up with Bloom in a cunning scheme to get rich by producing a copper-bottomed Broadway flop, Springtime For Hitler. They get the worst script - a gay romp starring Hitler - and the most camp director, cross-dressing Roger De Bris (Gary Beach), and are convinced they are onto a real loser. The show is written by Will Ferrell’s character Franz Liebkind, the neo-Nazi playwright (and pigeon fancier). But the crowds decide it’s a satirical masterpiece and the best thing since Martine McCutcheon went sick from My Fair Lady. Having played the hapless pair in the Broadway version, Lane and Broderick-Mr Sarah Jessica Parker-have made the characters their own. Lane is suitably sleazy and sweaty as he lusts over Ulla’s breasts or stoically doles out sexual favours to old ladies in return for investment. Sadly, Uma turns out to be the weakest link playing the dippy Swede. No wonder Nicole Kidman pulled out of playing Ulla, whose contribution to feminism is to wiggle her bum at every man she meets. After her number When You’ve Got It, Flaunt It, Max observes : ’’Even though we’re sitting down, we’re giving you a standing ovation.’’ Subtle humour it ain’t. Looks-wise Uma fits the bill perfectly. But she dances like a lame giraffe in high heels and I suspect couldn’t sing for her supper, let alone a big-budget Hollywood movie. There’s a real cringey moment when a dance-double very obviously does the splits for her. But this will appeal to fans of both the original 1968 movie starring Gene Wilder and Zero Mostel and the curent theatre hit. They’ve cut a few numbers, which is a relief, and left me to revel in my favourites including I Wanna Be A Producer and the one with the oldies on Zimmer frames. And the Springtime For Hitler set-piece is staged to perfection.