REVIEW: Mel Brooks’ Young Frankenstein a slapstick delight

Drury Lane production combines terrific set design, costuming, and choreography with a cast and crew who work as a well-oiled machine.

Extending the spooky season until the end of the month is Burlington’s Drury Lane with its top-notch production of the zany Mel Brooks’ Young Frankenstein.

Drury Lane combines terrific set design, costuming, and choreography with a cast and crew who work as a well-oiled machine to elicit a lot of hearty laughter from the audience. A handful of tickets are still available for the performances of its final weekend.

Young Frankenstein originated as a comedy horror/parody film in 1974, directed by Mel Brooks with the screenplay co-written by Brooks and Gene Wilder. Wilder starred as the title character, Frederick Frankenstein, the American grandson of the infamous Victor Frankenstein. The film’s cast included Teri Garr, Cloris Leachman, Madeline Kahn and Gene Hackman. Young Frankenstein ranks highly on a number of lists compiling the greatest comedy films and funniest movies of all time. The film was nominated for two Oscars, including Best Adapted Screenplay and Best Sound. 

After the success of his 2001 musical, The Producers, based on his 1967 film, Brooks decided to create a musical based on another of his films. Young Frankenstein the musical opened on Broadway in November 2007 to somewhat mixed reviews, closing a little over a year later. The production toured nationally, and 10 years later, a revised show opened in London's West End to more positive reviews. The film and musical, of course, are inspired by Mary Shelley's 1818 novel, Frankenstein.

Drury Lane director and choreographer Marc Richard says the shape and humour of the show comes from the fact that “Young Frankenstein sends up not only one genre (Gothic horror films) but also a second (musical comedy itself)...” In building the world of the musical, the Drury Lane production uses every inch and angle of its stage to great effect.

The choreography of movement, both of the sets and props as well as the actors, is possibly the show’s greatest strength. The degree of coordination of the cast and the crew is so impressive, congratulations are in order for Richard as well as stage manager Barb Osborne, assistant stage managers Bill Everett and Lucy McGhee, assistant choreographer/dance captain Aislynn Curran, and the rest of the design/production team. Drury Lane is known for its live musical accompaniment and this show is no exception, with excellent musical direction by Anne Barnshaw.

When we first meet Dr. Frederick Frankenstein, the “Young Frankenstein” of the title, he is a scientist like his infamous grandfather but he is embarrassed by the Frankenstein legacy, insisting his surname be pronounced "Fronkensteen.” He soon learns that he has inherited the family castle in Transylvania, and travels there to view the estate. When he arrives, Frederick meets the hunchback Igor (pronounced "Eye-gore"), the grandson of Victor's assistant, who is overjoyed to meet him. Igor the younger tries to convince him to stay and resume his grandfather’s work. We also meet a buxom, yodeling lab assistant, the long-time housekeeper who passionately loved Victor Frankenstein, and assorted villagers. Hijinks ensue.

Mark Rotil (Igor) more than does justice to the legacy of Marty Feldman (Igor in the 1974 film, he of the memorably bulbous eyes) with the panache he brings to his own “Eye-Gor.” His physicality, comedic timing and droll asides to the audience are consistently funny, and he is a pleasure to watch.

Carrie Mines also has big shoes to fill as Frau Blücher, who has been played by comedy heavyweights Cloris Leachman and Andrea Martin, but Mines is riveting herself with great comedic timing, fearlessness and stage presence.

The strong and operatic voices of Heather Hooper (Elizabeth) and Alix Kingston (Inga) particularly stand out, and both amply achieve the outrageous, over-the-top sex appeal their roles require. On Broadway, Megan Mullally originated as Elizabeth with Sutton Foster as Inga.

Ultimately, much of the success of Young Frankenstein depends on Eastman Welsford (Frederick Frankenstein) and Geoffrey Mendelssohn (The Monster), who both give strong performances here. Each actor is adept at communicating through his eyes, an especially useful skill for the Monster, who is initially non-verbal. Welsford has the impossible challenge of taking up a role so imprinted by the late great Gene Wilder, but still manages to evoke something of Wilder’s wild-eyed and energetic spirit.

Offstage, I appreciated that co-producer Jennifer McLennan not only greeted me warmly but could also be seen helpfully advising the audience members at the two front tables of the way the stage “fog” would roll out toward them and how the cast would be moving around them.. The staff at box office and the licensed concession were likewise friendly and welcoming, adding to the night’s enjoyment.

On this occasion I was joined by my father, who is nearly 80 and has always had a great love of slapstick comedy. He doesn’t attend theatre productions that often, and he was absolutely delighted by the show. The rest of that evening’s audience appeared to agree.

Next up for Drury Lane is its Christmas pantomime production Cinderella, running from Dec. 12 to 21.

NEED TO KNOW

Mel Brooks’ Young Frankenstein
Continues Nov. 29, 8 p.m. and Nov. 30, 2 p.m.
Drury Lane Theatrical Productions
2269 New St., Burlington
Box office: 905-637-3979 or drurylane.ca