Young Frankenstein

Critiqued by Holly Bartges

June 24, 2009

Time is short. Unfortunately, this splendid production closes Sunday. Would it could/would extend its time, but such is the life of a brilliant scientist and his monster.

I have to admit. I held my breath. I never saw the original 1974 starred Mel Brooks film, now captured in history as one of Brooks' greatest fun-filled spoofs. Over the years I have seen pieces. If all of the pieces were put together, I have undoubtedly seen it in its entirety. I know enough about Mel Brooks' genius, to know this classic film was classic genius.

Cast of Young Frankenstein Photo by: Paul Kolnik

What nerve: to take a classic genius film and attempt to put it on stage as a musical. It couldn't/wouldn't be the same. I held my breath.

Holding my breath resulted in complete astonishment. Directed and choreographed by Susan Stroman, this production exceeded all possible hopeful expectations. The main reason is simple. Stroman and the phenomenal cast made this production their own, a vital element, not every production company pays attention to.

No one attempted to copy anyone. All of the principal actors/singers//dancers took the characters to heart, creating something new with outright ownership. The powerful strengthened excitement blasted through the Buell Theatre with wild fire aliveness.

Robin Wagner's beautiful scenic design flows so smoothly, each scene laps at the heels of the previous. He knows something a good many scenic designers could learn.

For this "productional" story to work, the lighting had to be spectacular, and Peter Kaczorowski's design and execution becomes its own demanding character that knew its place, knew its strengths, without over doing, pushing anyone aside, or stepping on anyone’s toes, but thrilling the expected senses.

Although a valued lecturer at a New York Medical school, Dr. Frederick Frankenstein insists his name be pronounced Fronk-en-steen over his embarrassed association with his mad scientist grandfather.

Roger Bart grabs a hold of Frankenstein's role with skilled perfectionism. His eyes reflect everything going on around him; dancing with the music, matching line for line his incredulous expressions that almost become bigger than life itself. Although he has played this role a skillion times, it is obvious from the outset with the mind boggling and tongue-twisted song, The Brain, herein lies an actor who loves this role.

Cast of Young Frankenstein Photo by: Paul Kolnik

Unexpectedly meeting his new lab assistant, Inga, enroute to Transylvania, Frankenstein's eyes pop. She doesn't look like a lab assistant. She doesn't act like a lab assistant. She doesn't even dress like a lab assistant, which seems to be perfectly OK with him in the hayride songed and danced with ferocious energy to Roll In The Hay. It definitely would have been difficult to upstage them. Anne Horack matches Bart's overjoyed enthusiasm. She's adorably delightful. However, the horses capture the attention. With a most creative sideline, the back of the hay wagon faces the audience, the dancers, in horse head costumes are attached to the dummied bodies of the equines up stage. Their legs become the front legs of the horses, and they're stunning. So close to being believable, it isn't funny. Lawrence Alexander and Geo Seery bring these animated creatures to life. In spite of Frankenstein and Inga rolling and tumbling in the hay, it is difficult to keep the eyes off of these wondrous creatures demonstrating they have a sense of humor all to themselves. When they arrive at the Transylvania castle meeting Frau Blucher, a household servant deliciously played in uptight straight-laced fashion by Joanna Glushak, the horses react with a loud neighed whinny whenever they hear her name. The joke continues throughout the storied spoof even when she whispers her name. In the laboratory, Blucher (a neighing goes here.) lets her hair down in her uptight moralistic value system characterized by her buttoned down black dress confessing He Vas My Boyfriend, referring to the deceased Count. So incongruous. So wonderfully executed. So laugh out loud appreciated.

The young Frankenstein has no intentions of pursuing his grandfather's weird scientific experiment to breath life into the monster until the Ancestors encourage him to Join The Family Business.

Based on jokes, the musical keeps the originals all in tact. No one can leave this production claiming, "but they forgot--------".

Cory English endears himself as the loveable, huggable humped-back Igor who insists if Frederick insists his name is pronounced Fonk-en-steen then his is pronounced Eye-Gor. Besides. If his last name is Fronk-en-steen, how come his first isn't Froaderick? That's what Igor wants to know.

Brad Oscar's Inspector Kemp takes a back seat to no one. With his wooden left leg and right arm, he maintains commanded control, especially in the Town Hall Meeting when he discusses The Law through song with the Villagers.

Frankenstein doesn't believe dead tissue can be brought back to life, convinced his grandfather was a sick out of his mind man. The "what if" questions surround him. Since he's there, what's the harm in trying? Igor worked for his grandfather, although "now the rates have gone up". Igor knows what he's doing. Right? Well. Igor will supply the brain, which he does. When plans don't go according to Hoyle, Frankenstein inquires about the brain, assuring Igor he won't be angry. Igor tells him it was Abby Someone. Abby Normal. "I'm almost sure that was the name".

Cast of Young Frankenstein Photo by: Paul Kolnik

Of course, the Monster comes to life. Of course the Monster goes berserk with an abnormal brain. Brought to life with grunts and groans and sharp "bungily" awkward moves. Rye Mullis presents a masterful Monster.

The highlight of the show comes when Frankenstein risks his own life to infuse love into the Monster and teaches him to walk, talk, and dance and in black tie perform Puttin' On The Ritz. No one wants it to end, and when it does, one can almost hear the audience think, "Do it again". Irving Berlin would be so proud.

A "Whoa, how'd you do that?" moment comes with William Ivey Long's costume design when Oscar's Inspector Kemp magically transforms himself on stage into the Hermit he also played with spiced juice. Popping eyes cannot only be seen but heard.

Young Frankenstein not only meets all expectations, but also exceeds them. Hm-m-m how long do we wait until it gets to return to the Buell? That question already busy on some tongues.

Some have mentioned that sitting on the stage right of the Buell, they had difficulty hearing some of the lyrics. Notorious for its sometimes-dubious sound system, The Buell Theatre has faced that inconvenience from the beginning. However, on stage left of the theatre, the sound remained crystal clear.

Young Frankenstein brings giggles, smiles, out loud chortles, delight, and a heap of monstrous honest fun. Technically it's a masterpiece with finely tuned characters that will not soon be forgotten, much less want to be forgotten. It matters not whether you've seen the film a hundred times or not at all. This production is masterfully in tact with Brooks' own genius, Meehan's imagination, Stroman's invaluable creative dancing brain, and actors/dancers/singers who know full well the meaning of owning a character.

Young Frankenstein
Book by Mel Brooks and Thomas Meehan; Music and Lyrics by Mel Brooks