YOUNG FRANKENSTEIN

Young Frankenstein is a musical version of Mel Brooke’s 1974 classic comedy horror of the same name, itself a parody of the horror film genre, especially various 1930s adaptations of Mary Shelley’s book Frankenstein. It tells the story of Frederick Frankenstein, grandson of the original Victor Frankenstein who inherits his Transylvanian castle and returns there, eventually re-creating his grandfather’s work, but with hilarious results! The musical version did not appear on Broadway until 2007, and the West End until 2017 and it is this ’London’ version I believe was performed here.  The musical follows the story and script in the original film version quite closely. 

We were both quite excited about seeing your production – one of us because we are a huge fan of the film and the other because it was all completely new. We do apologise for coming on the opening night – it was the only night we could make and as Directors and performers ourselves we know probably wasn’t your preference – suffice to say we really enjoyed your production and had a great night!

There is a reasonable performing area at The Redgrave Theatre, but with some limitations in terms of wing space and flying - but you made great use of what you had available. The decision for mobile scenery on trucks was a good one and the quality of these was excellent – particularly Frankenstein’s study with revolving bookcase, the laboratory equipment and the elevating Monster’s trolley was a triumph. Having scenes in front of the tabs while you set behind really helped the pace of the show too, as did the use of the rear curtain.  It would be fair to say that the stage crew probably needed another night to get all of the set changes spot on, but it did fit in with the comic nature of the production and did not affect the enjoyment of the show at all. 

The lighting design and application was excellent too and was a real feature of the production. No trick was unused to create the right atmosphere – from moving heads, to haze and an air blower, LED bars and a little projection. There was a good use of colouring too, often using the rear cyclorama too and with a willingness to transform effects within songs to maintain interest. Floor lighting created suitable ‘spooky’ effects and some great shadows in ‘the villager scenes and during the tap routine in the iconic ‘Putting on the Ritz’. The electricity effects generated for the re-animation scene were excellent too. Follow-spots were well used, with the restricted space available. Cueing was well-controlled. You did as well as you could with the ‘fire’ effects to frighten the monster, though perhaps some simple stage pyrotechnic effects, such as flash-pots may have enhanced this further and made it more obvious for the audience. Overall, the lighting was a real triumph!

The sound was generally very good too. Balance with the band was maintained really well, never overpowering or being overpowered by the Chorus and the Principals. Radio microphone management had near perfect cueing and control. Sound effects were well-used and of a good standard, with the occasional first-night mis-cue, but overall the sound was excellent in the production.

The costumes were wide-ranging and of a good standard, from the 1930’s clothing at the start through to the traditional German attire for the villagers and song and dance wear. Principal costumes all worked well. The horses were genius – we loved them!!  Hair and make-up needs were heavy, particularly with the Monster who looked really effective – both monstrous and slightly daft at the same time!

In reviewing the principal performances:

• Frederick Frankenstein (Tom Carron). A thoroughly enjoyable performance – well-sung, acted and danced, with enough of your own content and a little Gene Wilder too.  Very well done.

• Igor (Chris Sterry). Charming and great fun, you could sing and dance too. A lovely performance.

• Frau Blücher (Ruth Harries).  Not quite sure how you kept your dead-pan expression with everything else going on, but you did!  You performed this difficult role really well.

• Inga (Louise Cottell).  A really nice performance. You sang and performed well and we loved your ‘Roll in the Hay’. You could perhaps have been even sassier with Frankenstein in ‘Listen to your Heart’, but a great  returning performance overall.

• Elizabeth Benning (Amber Mears-Brown). What an incredible voice. You sang your numbers brilliantly!

• Inspector Hans Kemp (Ryan McKenzie).  An excellent performance – your characterisation was incredible and your control of your mechanical limbs was both hilarious and equally impressive.

• The Monster (Rob Ridd).  You were able to brilliantly express a full range of emotions in this part, largely through mime. Your facial expressions in ‘Deep love’ with Elizabeth were incredible – and you could tap too!!  A great performance.

• The Hermit (Greg Morris) You performed your song ‘Someone’ really well and your scene with The Monster was great fun. Very well done.

The supporting cast were great in the ensemble – there was not a massive amount for them to do in the show, but where there was, they were always acting and supporting the overall performance.

The Choreography was well-executed and pitched at the right level for those involved. The tap routine for ‘Putting on the Ritz’ was particularly impressive and most enjoyable. The chorus singing was very good too. The music itself throughout the production was well-controlled and well-executed and a key part of the whole production.

In summary, this was a great production from BAOS.  Young Frankenstein is not a musical performed that often and so it was great to see it undertaken so well. The performance had some very strong production qualities which the performances of the actors, singers and dancers were able to match. 

Very well done to everyone involved for a great opening night. It was great to see the theatre so full and with such an enthusiastic audience too and we hope the rest of your performances were as successful as this oner too.

PLEASE NOTE:

Any observation made by the reviewer can only be based on what he sees at the performance in question.  The reviewer may have received information in advance of the performance and it is inevitable that his assessment will be effected by that knowledge.

The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in particular the performance viewed.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances, and are only made to encourage higher standards in Amateur Theatre.

It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

 

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