Characters

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Max Bialystock

Max Bialystock stands as one half of the theatrical duo at the heart of the play's title. Once hailed as the "King of Broadway," his glory days have faded into distant memory. The curtain rises on a man beleaguered by failure, with a track record of disastrous productions that often never see beyond opening night. In a testament to his enduring infamy, the theater displaying his latest work, Funny Boy!, showcases a reversible sign reading "Opening Night" on one side and "Closing Night" on the other, a nod to his predictable outcomes. Bialystock's only means of financing his ventures lies in charming lonely, elderly women, who part with their money in exchange for his affection. His office boasts a collection of their portraits, each woman convinced of her unique place in his heart.

Defined by his unabashed immorality, Bialystock seizes upon Leo Bloom's observation that more profit can be made from a flop than a hit. Greed propels him forward without hesitation. In a brazen move, he disregards his Jewish roots, vowing allegiance to Adolf Hitler to secure the rights for Franz Liebkind’s play—a production he is confident will be the worst to ever grace Broadway.

In Act Two, Bialystock takes center stage with the song "Betrayed," revealing a more vulnerable side. His losses encompass more than money or impending incarceration; they include a deep friendship with Bloom, whom he has come to regard as both friend and protégé. When Bloom returns to stand by him in court, Bialystock confesses that this is his first genuine friendship, marking Bloom as the only person he has ever truly trusted. As the play concludes, Bialystock remains the same vivacious rogue, channeling his energy into "Prisoners of Love," yet another dubious musical set for Broadway triumph.

Leopold Bloom

Leopold Bloom, one of the narrative’s principal players, offers a more intricate character study. A timid accountant, Bloom is initially overwhelmed by Max Bialystock’s exuberant nature, finding solace in the comfort of his childhood blue blanket as he cowers on the floor. Yet beneath his trepidation lies a fervent yearning to become a Broadway producer. His encounter with the theater world in Bialystock’s chaotic office ignites a realization of his deep dissatisfaction with the mundane life of numbers at Whitehall and Marks, prompting him to embrace Bialystock's illicit plot.

Bloom’s enchantment with the theatrical realm heightens upon meeting Ulla, a dazzling blonde seductress who joins their ranks as a secretary before taking the stage in Springtime for Hitler. His infatuation with Ulla is pure and endearing, culminating in a duet at the start of Act Two, where Bloom symbolically discards his security blanket. His admiration for her radiant beauty contrasts sharply with Bialystock’s more lustful intentions.

When their fraudulent moneymaking scheme is exposed, Bloom emerges as the man Bialystock urged him to become, fleeing to Rio de Janeiro alongside Ulla and the stolen funds. Yet, his conscience pulls him back in time to spare Bialystock from sentencing alone. In court, Bloom acknowledges the transformative impact Bialystock has had on his life, lifting him from despair to a life rich with joy. Their heartfelt camaraderie convinces the judge, resulting in a joint imprisonment.

The name Leopold Bloom nods to James Joyce’s protagonist in Ulysses, a clever reference in Act One, Scene Four, when Bloom muses, "When’s it gonna be Bloom’s day?"—a homage to June 16th, the date celebrated as "Bloomsday" in Joyce’s literary classic.

Roger De Bris

Roger De Bris bursts onto the scene as a showy, extravagantly flamboyant director. His abode is a veritable circus of theatrical characters, each embodying...

(This entire section contains 1375 words.)

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a different stereotype with unabashed flair. When Bialystock and Bloom make their initial approach, they find De Bris adorned in a lavish evening gown, his attire for the upcoming Choreographer’s Ball. Though initially reluctant to helmSpringtime for Hitler due to its grave nature, De Bris’s philosophy, comically expressed in a song ripe with innuendo, is to "Keep It Gay" for Broadway success. This theme is humorously reiterated as his colorful entourage—set designer, choreographer, lighting director—parade out, each a more comedic exaggeration than the last.

The producers bank on De Bris's notoriously poor taste to doom their musical: as Bialystock quips to Bloom, "This guy couldn’t direct you to the bathroom." When Franz Liebkind suffers a mishap, De Bris is thrust into the role of Hitler, resulting in a hilariously campy portrayal that captivates audiences with its sheer absurdity.

Carmen Ghia

Carmen Ghia, Roger De Bris's "common-law assistant," mirrors De Bris’s flamboyance with equal zest. In the narrative, Carmen acts as a translator of De Bris's more eccentric ideas while providing a foil for the director’s trademark bickering. It is Ghia’s intimate understanding of De Bris that predicts the director’s familiarity with the lead role in Springtime for Hitler and his secret ambition to step into the spotlight when Liebkind is out of commission.

Gunter, a staunch Nazi aide to Franz Liebkind, delivers Franz right to the theater's doorstep on the fateful night when Springtime for Hitler makes its grand debut.

Hold Me-Touch Me

Hold Me-Touch Me emerges as the most conspicuous of the elderly women whom Bialystock charms to secure funding for his production. Despite having more screen time with Bialystock, her distinctive traits blur into the background, merging her into the tapestry of other colorful characters like Lick Me-Bite Me, Kiss Me-Feel Me, and Clinch Me-Pinch Me.

Franz Liebkind

Residing in Greenwich Village in New York City, Franz Liebkind is an ardent Nazi, penning a theatrical homage to his idol, Adolf Hitler. After sifting through countless scripts, Bialystock and Bloom determine that Liebkind’s work must be the epitome of failure, a surefire disaster.

Liebkind’s mental instability is gleefully highlighted through his bizarre antics. He struts around in lederhosen and a Nazi helmet, fervently promoting his skewed narrative of Hitler’s life. So lost in his delusion, he is oblivious to the disdainful sneers of Bialystock and Bloom, whose Jewish heritage is transparent. He compels them to wear swastika armbands and pledge their allegiance to Hitler, while rattling off improbable trivia, like Hitler's proficiency in painting apartments in mere hours, his surprisingly nimble dancing skills, and the whimsical claim that his middle name was "Elizabeth." When discovered by the producers, Liebkind is serenading his longing for Bavaria from his rooftop, accompanied by a chorus of cooing pigeons—a testament to his detachment from reality.

During the auditions, Bialystock identifies Liebkind as the ideal candidate to lead in Springtime for Hitler, ensuring the show’s doom. Yet, on the opening night, after receiving the traditional Broadway advice of "break a leg" instead of "good luck," Liebkind ironically slips and fractures his leg, necessitating his replacement on stage.

In the aftermath, Liebkind confronts Bialystock with murderous intent. However, an accidental gunshot triggers a police response, landing them all behind bars together.

Mister Marks

Leo Bloom’s boss in the accounting firm, Mr. Marks is portrayed as a "short-tempered, cigar-chomping little tyrant." His incessant nagging pushes Bloom to abandon his mundane occupation and aspire to the glamorous, albeit chaotic, world of producing.

Ulla Inga Hansen Bensen Yonsen Tallen-Hallen Svaden-Svanson

A running gag in the narrative, Ulla introduces herself with a string of nine names, only to reveal this is merely her first name. Bialystock humorously insists there’s simply no time to hear her last name.

Ulla, a strikingly attractive blonde, arrives at Bialystock and Bloom’s office hoping to secure a role in their latest venture. Cast as Eva Braun, Hitler’s paramour, she also becomes their secretary, a role crafted to keep her enticing presence nearby.

Her pronounced Swedish accent and comedic struggle with the English language add to her charm. As a less-than-skilful secretary, her duties are humorously limited to answering the phone with the repetitive parrot-like "Bialystock and Bloom."

Fully aware of her allure, Ulla captivates the producers with a song titled "When You Got It, Flaunt It." Her duet, "That Face," with Leo Bloom reveals an earnest attraction. Ultimately, when Bloom emerges from prison, Ulla is by his side, shining in the new musical that Bialystock and Bloom have crafted together.

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