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“Dancing Nazis, swastika-marked pigeons, sex-mad elderly ladies and the campest portrayal of Hitler that has ever been seen on stage.” Patrick Marber’s “loving” revival of Mel Brooks’ “cheeky” musical “The Producers” contains all the elements of the original show, said Matthew Hemley in The Stage.

Two decades after its West End debut, “The Producers” has touched down at London’s Menier Chocolate Factory, and it’s a “more than welcome return for a show that’s as funny as it is charming”.

The story follows failed Broadway producer Max Bialystock (Andy Nyman) and his “hapless” accountant Leo Bloom (Marc Antolin). The pair set out to produce what they believe will be a surefire flop – a “tasteless” musical about Hitler – so they can swindle their backers out of millions of dollars. “What could possibly go wrong?”

The show’s success has always hinged on the “joyous” pairing of the leading duo, and this remains the case here. Nyman and Antolin “sing and dance wonderfully”, and both their “physical and verbal comedy” is a “genuine treat”. Trevor Ashley is also a real “highlight” as Roger de Bris, who is tasked with playing the Fuhrer. “His Judy Garland-infused Hitler is a wonder.”

While it “pulls back from the full freight of the danger in its political satire”, Marber’s revival is still “delightfully” and “daringly” funny, said Arifa Akbar in The Guardian. The “multitasking ensemble” work together in “ingenious” ways, giving the show the feel of a sprawling Broadway hit, “despite its modest cast”. And Paul Farnsworth’s costumes are “full of delightful surprises”, getting glitzier as the show goes on.

“The sight of swastikas being gaily twirled around the stage still has the hard kick of taboo,” said Louis Chilton in The Independent, but it’s remarkable just how “sharp [the show’s] teeth still are”. “As a satire both of fascist nationalism and showbiz, ‘The Producers’ remains ever-relevant.”

Social attitudes have changed hugely since Brooks’ film was made in the 60s, and even in the 20 years since the musical debuted, but Marber handles the thorny subject matter “deftly” with his “grimy” and “well-judged” show, said Andrzej Lukowski in Time Out. It might be a “bit slow in getting going”, but its “pillorying of fascist iconography remains hysterically funny”.

“The ludicrous sight of Bialystock’s old-lady investors hoofing it up on Zimmer-frames” is one of the show’s funniest moments, said Dominic Cavendish in The Telegraph. “As camp as Christmas“, “The Producers” is “perfectly suited to the festive need for cheer”.