Young Frankenstein

I’m a fan of Young Frankenstein, both the film and the musical, having seen and loved the 2017 revival at the Garrick Theatre.  So no pressure then, Studley Operatic Society!  It’s no exaggeration to say that I had high hopes for this show, and I am delighted to be able to say that they were met, and then some, in an evening of musical theatre of the highest standard. 

Young Frankenstein tells the tale of one Frederick Frankenstein, a scientist who inherits his grandfather’s castle in Transylvania.  Arriving to claim his inheritance, he meets a gallery of eccentrics, who set about tempting him to enter the ‘family business’ of reanimation.  And of course, despite his initial resistance, that’s exactly what he does, creating a monster who, after many a Mary Shelley-inspired pitfall, eventually finds love and, via an ingenious mind-transfer, intelligence.  The whole thing is brilliantly daft and full of opportunities for nods to classic horror tales.  

As Frederick Frankenstein (or should that be Fronkensteen?!) Ed Mears turned in a fabulous performance, confident, comfortable and superbly characterised, excelling in singing, acting and dancing – a genuine ‘triple threat’. It didn’t hurt that he also bore an uncanny resemblance to Gene Wilder, both visually (props to the hair and make-up team) and in his speaking voice.  A show like this can stand or fall on the strength of its lead performance, and this one stood tall.

Jeremy Dobbins provided a great comic foil as the ever-willing manservant Igor, capering around helpfully with his roving hump.  Their fantastic, Broadway-style ‘Together Again’ was the moment where I felt the show – which was already good – achieved lift-off.  Sophie Hill was also very good as Frederick’s romantic attachment Inga, a role which really requires the performer to go for it, and she certainly did!  Good accent, too.  And Sophie Grogan clearly had an absolute ball as Frederick’s uptight fiancé Elizabeth Benning, in particular during the latter scenes where she forms an unlikely and hilarious attachment to the Monster. 

Liz Bird made the most of the gem of a role that is Frau Blucher (neighhhh), really delivering in terms of both unhinged menace and, during a memorable ‘He Vas My Boyfriend’ lustful amorousness.  Matt Bridgewater as the Monster somehow managed to perfectly convey his character by means of grunts and snarls, whilst also coping manfully with a huge pair of platform shoes!  His transformation into an intelligent gentleman at the end was also hilariously done.  Ryan Allen Rose only really had one scene in which to make an impact as Harold the Hermit, but he absolutely grabbed that opportunity with both hands in a very funny performance (it would have been even funnier if there had actually been some sort of food and drink involved.) 

There were plenty more great performances across the cast, from Paul Mitchell Jnr’s impressive cameo as Victor von Frankenstein, to Russell Hay as village bobby Inspector Hans Kemp and Jacob Finch as the hapless village idiot, Ziggy.  A large ensemble fortified the group numbers and added to the mayhem as a variety of villagers, monsters and medical students.  Well done to them all.

This was a show with plenty of energy, with sparks literally flying as the monster was brought to life.  Congratulations to director Matt Collins, who, along with his cast, did a good job in bringing out the humour that fills the script.  Cassie Rivett contributed some top notch choreography, particularly in first half closer ‘Transylvania Mania’; ‘Together Again’; ‘Roll in the Hay’ and the nicely naughty ‘Please Don’t Touch Me’. I felt this show worked best when the cast really leaned in to the bawdiness – this is not a show in which anyone can afford to be stand-offish!  Musical director Edd Caine superbly marshalled his eleven-string orchestra, who did not put a foot wrong.

The famous showstopper ‘Putting on the Ritz’ was impeccably staged and delivered by the whole cast and crew.  I had high hopes for this number, and I’m happy to say that they were met, as this great set-piece took flight.  The shadow-play section in particular was brilliantly done (that must have taken some rehearsing!), but the whole thing was completely worthy of the ovation it received.   

The show featured a projected backdrop, which featured moving pictures and text to set the scene for each section of the play, as well as providing a static background.  I’m not normally much of a fan of projections, but on this occasion it worked extremely well, alongside some more traditional scenery.  I particularly liked the depiction of the elevator to Frankenstein’s laboratory, and also that Victor von Frankenstein’s portrait disappeared from the wall when his spirit appeared to Frederick – some nice attention to detail there.  Scene changes were well handled by the backstage team and costumes, too, were well chosen, with even Igor’s hump getting in on the act! 

I had such fun watching this show, and it’s hard not to wonder why it isn’t more commonly performed.  Hats off, then, to Studley Operatic Society for bring this fabulously entertaining show to the Redditch stage, and for making such a top class job of doing so.  Thank you for inviting me and for the warm welcome, and I look forward to ‘The Little Mermaid’ in 2025!

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