The Mel Brooks Musical - Young Frankenstein

Mel Brooks took inspiration from Mary Shelley’s classic tale to write a wacky, irreverent, and totally bonkers parody of the horror genre that became a cult comedy film in 1973.  He then adapted it into a musical in 2007 and despite being almost 20 years old now, it remains relatively unknown to many people.  Referencing the original film, the musical’s very first Inga, Sutton Foster, said of the new version, “We have to honour the performances before us; it’s such an iconic comedy classic”.    Indeed, those who know the film have expectations of seeing the familiar jokes, both verbal and visual, come to life in the hilarious and well-crafted script that captures the essence of every scene of the original.  Falmouth Theatre Company has brought together a production team and cast dedicated to staging an entertaining evening of song, dance and laughter. Judging by the audience’s response on the first night, it succeeded in that aim. 

Designed and built by a dedicated backstage team, the backdrop of stone-painted flats depicted, in almost cartoon simplicity, grey castle walls, including a tall arched entrance.  The installation of a low raised platform upstage was a good idea to provide options for height variations in the pictures created with the cast in place.   It was imaginative to use the cyc as a film screen to present clearly-written captions giving the cast names a là black and white movie, in an entertaining tribute to the original film’s style, and to subsequently enhance the storytelling using in-house created projections to indicate the locations.  Timing the speed change of the film of the horses used for Roll In The Hay to match the song’s tempo change greatly added to the comedy.Maximum efficiency was made of the revolving flat at SL by cleverly redressing it to suggest at least three settings including a splendid annotated blackboard drawing of a brain to identify the wittily named Johns, Miriam and Anthony Hopkins School of Medicine, the bookcase in the study, and, with a table added, yet another chamber.  This was versatile ‘scenery’ for the show, efficient because it avoided slow set changes via tabs-drops, and it ensured the action kept moving with only the minimal delays necessary for the occasional placement of furniture - benches, wagon, chairs, trolley, gibbet, etc.  An extravagant lighting design added to the staging with vibrant colour combinations and effects that supported the mood of each scene and enhanced the drama of the moment.  Sharp white light seemed to be used regularly throughout honouring the black and white history of the piece.  The featuring of lightning aptly supported the atmosphere, and firework-like sparks, plus inspired horizontal flashes of ‘electricity’ proved highly effective both during the Monster’s reanimation, and for the ecstasy of Elizabeth’s ‘awakening’.  The accompaniment to the songs and underscoring of the dialogue by the 12-piece orchestra came over as sensitive to the moment, and the cast spoke and sang with good diction, projection and appreciation for the timing of the gags and musical delivery, while the American and ‘Transylvanian’ accents were maintained well enough for this high-spirited send-up.  

Every member of the cast seemed genuinely engaged with the performance.  Their singing was enthusiastic and well-projected, and the dancing energetic.  It was good to see interpretation of the style of music inspiring much of the movement, like the shadowing and comedy walk in the vaudeville presentation of Together Again For The First Time, which came across with a great sense of humour, and the many syncopated rhythms of Transylvania Mania suggesting lively combinations for the mixed ability dancers.  The wonderfully tongue-in-cheek Please Don’t Touch Me bravely included a couple of lifts, and the showbiz Puttin’ On The Ritz built up to a competent full company tap routine complete with canes, while the Ancestors bounded onto the stage in fully-formed character for the vibrant Join The Family Business with its nod to Russian dancing as per the music.  Faces were animated, and moves appeared well-rehearsed and confident.  All the singing seemed well-coached and tuneful, as in the a cappella Welcome To Transylvania with close harmonies presented by a larger group than its barbershop quartet roots suggest. The leading characters were in fine voice, Frankenstein giving a lively (There Is Nothing Like) The Brain with excellent clarity and backed by some fine synchronised chorus movement.  The breezy Roll In The Hay entertained, incorporating lively movement on the wagon, plus some comic ‘fighting’ between Igor and Frederick, as Inga demonstrated her yodelling agility, and Frau Blücher’s He Vas My Boyfriend was delivered with comical passion and nimble moves around the chair.  

The use of the stage was balanced to spread the action, with the Ensemble backing some of the scenes in small groups of activity.  There appeared to be no hold-ups on entrances or exits, and energy was evident as each performer stepped on stage.  Generally, the pace was well-maintained and the rehearsal period had clearly drilled everyone in dialogue, lyrics, movements and business.  The use of the projections was valuable for navigating through the scenes in the absence of a more detailed set, and such simplicity shows how little we actually need to have everything provided - imagination is a great thing.  Bringing Victor on stage at the creation of the Monster as if he were overseeing his grandson’s work was a charming originality, and staging the hanging was cleverly designed to look passably believable, with its positioning and lighting helping the effect.  The humour of the piece was delivered with conviction by all and thoroughly enjoyed by the receptive audience. 

The portrayal of Frederick Frankenstein himself was a commitment from start to finish.  Barely off stage, he took his responsibility for the role seriously, employing excellent vocal technique in both speech and song to convey the complex, and very funny, changes the character experiences.  Movements were strong and disciplined with the necessary comic approach to the physicality.  His ‘lady-loves’ showed a delightful contrast in both looks and character.  Elizabeth carried herself with the self-obsessed arrogance due to the character and, with confident stage presence, brought plenty of humour to the role.  Animated facial expressions added to the delivery of her songs, demonstrating the switch from teasing fiancée to unabashed vamp.  The coyly innocent Inga, on the other hand, used lively body language to bounce her way through her slow discovery of love!  With a light, well-maintained Transylvanian lilt to her speaking voice she was also able to capture the opposing styles of energetic yodelling with the gentler Listen To Your Heart.  The rampant Monster’s stature was effectively combined with a lumbering gait and inarticulate grunts and groans to convince of his primitive renaissance, and the transformation to beautifully spoken intelligence and decorum was comically underplayed.  Credible ‘trained-monster’ moves in Puttin’ On The Ritz added to the fun of the number.  The clown-like “what hump”-Igor was performed with a knowing regard to the lunacy of Mel Brooks’s addition to the story.   His frequent bobbing up to speak over his master’s shoulder explains why the traditional crouching stance sometimes slipped, but the vocal range with good diction showed a hilariously servile characterisation with well-delivered asides.  The erstwhile lovers, Frau Blücher and Victor Frankenstein, each had their song, with Victor leading his crazy family in tuneful fashion and with expansive gestures as they encouraged Frederick to continue the madcap legacy.  The forbidding presence of the spooky housekeeper was a joy throughout drawing on crisp and disciplined mannerisms in her movements, and facial expressions that used her eyes powerfully to be both intimidating and comical.   The humorous narrative of her song was all the more funny because of the deadpan delivery.  Inspector Kemp exerted his small town authority with clear diction - and impeccable timing on “It cost me an arm and a leg”.  He had complete control over his limbs, always remembering the stiff leg, and the dextrous and clear manipulation of his false arm and hand ensured that every gag was noticed. Strong vocals led He’s Loose and we could sense his disappointment at losing out on the hangings.  His sidekick, the idiotic Ziggy, was played with appropriate simplicity and some lovely lucid facial expressions, especially when imagining “the horrible things that beast could be doing…”  Stepping out from the Ensemble, a few performers were given a moment in the spotlight.  There was pleasingly flat delivery from Telegraph Boy, a few important lines from the Steward, a musical interlude from the Entourage, and, with more than the rest, the Hermit, recovered from bravely taking a knee to the groin as Mr Hilltop.  This character is treated to a solo spot on stage for the plaintively crooned Please Send Me Someone, before sharing a full scene of finely-timed slapstick-like physical comedy, while having to convince as a blind recluse.  These performances all added to the narrative and were delivered with commitment.  The vitally important Ensemble of dancers and singers provided supportive backing to the central activity and helped to fill the stage with colour, movement and appropriate reactions.

It is always a joy to see live theatre and know that it is thriving in Cornwall with dedicated companies like FTC prepared to put so much work into their productions.  Long may it continue!  I had a great night watching this very funny musical and appreciate the efforts of all the departments involved in bringing it to the stage for our benefit. The responses of your eager audiences will have given you acknowledgement of the achievement and success of your venture.  

Thank you for inviting NODA to pass comment and for the warm welcome I received on my arrival.

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