Reviewed by Judy Richter
Just as he did with his smash hit
"The Producers," the versatile Mel Brooks has adapted another of his
popular films for the musical theater. This time it's "Young
Frankenstein,"
which is adapted from the story and screenplay by Brooks and Gene Wilder. This time too, Brooks
collaborates with writer Thomas Meehan on the book, and once again pens his own music and
lyrics. However, "Young Frankenstein" seems much less inspired and
certainly is less interesting than "The Producers."
The
idea has promise. It's 1934. Frederick Frankenstein (Roger Bart), a noted American brain surgeon,
has been summoned to Transylvania to claim the estate of his recently deceased
grandfather. When he arrives, he learns that his grandfather has been involved
in some ghoulish experiments that appalled the neighboring villagers. He also
meets the humpbacked Igor (Cory English), who was his grandfather's lab assistant; the
sexy Inga (Anne Horak), who is to be his assistant; and the older, haughty Frau Blucher (Joanna
Glushak), his
grandfather's housekeeper and lover.
Despite
his best intentions, Frederick is fascinated by his grandfather's work.
Assisted by Igor and Inga and some grave-robbing, he creates the Monster (Shuler
Hensley), who
terrifies everyone with his lumbering gait and inarticulate roars -- that is,
until he meets Frederick's fiancee, Elizabeth (Beth Curry). Though she had never let
Frederick touch her, she quickly succumbs to the Monster's charms, i.e., his
physical endowments.
The
whole thing is silly with a thin plot, stock characters, and puerile jokes and
sight gags. Brooks' songs aren't particularly memorable, particularly when
compared with the best scene in the whole show -- a dance routine to Irving
Berlin's "Puttin'
on the Ritz."
Director Susan Stroman's choreography shines in this tap routine featuring the Monster and
what appears to be his shadow.
Robin
Wagner's scenery
for this national touring production is mainly painted backdrops except for the
Frankenstein lab with its gears, pulleys and banks of lights. Lighting by Peter
Kaczorowski overdoes
the strobes, so much so that I had to close my eyes during some scenes. William
Ivey Long's
costumes are stylish, and sound designer Jonathan Deans resists the temptation to crank
up the volume. Robert Billig serves as musical director. Considering the material, the
cast is generally quite good, especially English as Igor. It should be noted
that the opening night audience appeared to love the show.
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