Young Frankenstein

My thoughts on Young Frankenstein or…putting on a hit.

Mel Brooks’ Young Frankenstein, based on his 1974 film, is a bawdy, madcap musical with music and lyrics by Brooks and a book by Brooks and Thomas Meehan. The musical, first produced in 2007, was Brooks’ follow-up to his massive 2001 hit, The Producers. Unfortunately, Young Frankenstein was panned by the NY Times and other critics. Despite a cast that included Roger Bart, Megan Mullally, Andrea Martin, and Sutton Foster, it was considered a disappointment and was snubbed by the Tonys.

I saw it shortly after it opened and must say I agreed with the critics. I thought that the material was overwhelmed by the production and found it less than enjoyable. !8 years later, my opinion has changed.

The musical’s current incarnation at The Firehouse Theatre, directed and choreographed by Jill Lightfoot, is enormously entertaining. With its relentlessly racy humor and songs, Lightfoot’s terrific choreography, and Music Director Rebekah Prim’s expertise with the vocals, this Young Frankenstein is a “monster” hit.

The story centers around Frederick Frankenstein, who has spent his life distancing himself from his infamous grandfather, the mad scientist Victor Frankenstein. However, when Victor passes away, Frederick inherits his estate and travels to Transylvania, where the chaos and outrageous comedy begin.

Logan Uhtenwoldt turns the stage into Frankenstein’s castle, complete with a hidden door. Dayna Rae Dutton’s costumes range from lab coats to chic evening attire. Finite Hawkins handles the sound design. But it’s Hank Baldree’s stunning lighting design that truly shines in this production. From stormy nights to electric sparks, Baldree adds an extra flair to Young Frankenstein.

The cast that Director Lightfoot has assembled for the musical is nothing short of sensational, and in the lead is Mr. Sensational himself, Preston Isham as Victor Frankenstein. A born song and dance man who is also a fine comic actor, Isham is extraordinary as the grandson of the mad scientist. Almost constantly on stage, Isham’s energy propels Young Frankenstein to next level entertainment.

As Igor, AJ Martinez, is also quite the song and dance man, and hysterical as Victor’s eager servant with the meandering hump. Martinez gets my vote for best supporting actor. Martinez and Isham are a comedy team reminiscent of Laurel and Hardy, whom they reference in “Together Again.”

Frau Blucher, the housekeeper of Castle Frankenstein, is the woman whose name unsettles any horse within earshot. The brilliant Amy Parsons, with her deadpan and serious delivery, amplifies the humor of Frau Blucher and steals the spotlight with “He Vas My Boyfriend,” where she hilariously unveils her past relationship with the late Victor Frankenstein.

Inga, portrayed by Caroline Pluscht, becomes Victor’s enthusiastic assistant in his experiments. Pluscht perfectly conveys Inga’s naive energy and oblivious charm, and what an incredible voice she has. Her “Listen to Your Heart,” even with all those wild Mel Brooks lyrics (“Let’s be blithering idiots…and blither all night long”) is beautiful.

Ah, the dazzling Caitlin Martelle. Martelle brings all her classic comedy skills (No one gives the side eye better) to the role of Victor’s fiancée, Elizabeth Benning. Watching Martelle as the flirtatious, yet standoffish, Benning, I was reminded of Judy Holliday. Martelle, also an outstanding singer, makes her two big numbers, “Please Don’t Touch Me” and the double entendre-filled “Deep Love,” into show highlights.

When I found out Hunter Lewis was cast as the Monster, I was briefly disappointed. Why put someone with such a magnificent voice in a role that doesn’t involve much singing? The answer became clear—he’s also a skilled physical comedian and delivers more laughs in the Monster role than I’ve ever seen before, and can moan and groan like a pro. The versatile Lewis even gets to display his tap dance skills.

As Inspector Hans Kemp, Patrick Persons does a fantastic job rallying the townsfolk and showcases his talent as an accomplished vocalist. His antics with the "fake" arm in a recurring gag also earn plenty of laughs.

Dave Parsons, in a wildly fun cameo role as the blind hermit who tries to befriend the Monster, becomes an audience favorite as he bemoans his lonely life in “Please Send Me Someone,” but then scares the Monster away with his ill-fated attempts to be hospitable.

The tremendously talented Transylvanians who make up the ensemble are the backbone of the production. Singing, dancing, and adding so much to every scene are Tony Barone, Jessica Deskewies, Breanna Duchatellier, Hailey Hatfield, Lucas Haupert, Milenka Lopez, Bryson Morlan, Daniel Muka, Zane Syjansky, Ashley Tone, and MattJohn West.

I was thoroughly impressed with Director Lightfoot’s Young Frankenstein, and her staging and choreography of “Puttin’ on the Ritz” might just be the most spectacular musical number I’ve seen in my nearly eight years of attending shows at the Firehouse.

Young Frankenstein is a monstrously magnificent evening of song, dance, and laughs. Book that ticket to Transylvania before November 2nd.

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