I have fond memories of Mel Brooks's 1968 film debut with The Producers, which enjoyed more of a cult than a commercial success. It was not until last week, however, that I at last saw his musical take on the tale that became one of the first big stage smashes of the 21st century. What comic bliss I had been missing! The new touring production, which is at Milton Keynes Theatre until November 3, provided one of the most entertaining nights in the stalls that I have enjoyed in years.

Success arises in large part from inspired casting. The line-up includes two of Britain's top comedians, Russ Abbot and Joe Pasquale, who work unflaggingly to mine every ounce of humour from Brooks's dialogue and songs. Commendably, they rely on their formidable technical skills as performers rather than their own considerable comic personae and remain consistently in character throughout.

For Mr Abbot this involves supplying a wickedly comic portrait of the flamboyantly homosexual director Roger DeBris. We first meet him in his elegant New York town house clad from head to foot in drag (pictured), and surrounded by a veritable Village People assortment of camp attendants eagerly reminding us to Keep It Gay. By contrast, Mr Pasquale shows us much less colourful character, in down-trodden accountant Leo Bloom, though this is all set to alter when he is transformed into a Broadway producer, with a mission to produce a resounding (and paradoxically hugely profitable) flop, with the show Springtime for Hitler.

Masterminding the plot is the decidedly dodgy producer Max Bialystock. Once a showbiz legend, he has become a byword for failure. That he is still able to mount regular assaults on Broadway (Funny Boy, The Kidney Stone, The Breaking Wind) is thanks to funds generously supplied in return for sexual favours by a large and lavish team of Zimmer frame-wielding Little Old Ladies. (Did I hear someone mention bad taste? Come on, this is Mel Brooks for heaven's sake.) This extraordinary figure is played with immense brio by New Yorker Cory English (pictured with Joe Pasquale) who offers what amounts to a masterclass in comic acting (and singing). His performance alone would be worth the price of seat; but there are many other rich delights on offer, including the splendid Emma-Jayne Appleyard as a pneumatic slice of Swedish crumpet called Ulla. Her solo number, When You Got It Flaunt It, is one of the highlights of the night.

Milton Keynes Theatre box office: 0870 060 6652 (www.miltonkeynestheatre.com)