Young Frankenstein

Young Frankenstein – FAOS continues their journey through American musicals with a comedy element by Mel Brooks - first The Producers and now Young Frankenstein in which  Mel Brooks famously delves into all aspects of comedy particularly those which reflect the Vaudeville style of humour and exposition.  The Society is fortunate to have a very talented team producing their programmes.  They are always innovative, creative and fascinating – lots to read once you get home.

The use of props was minimalist in contrast to the very complex arrangement of stage furniture used to create the various scenes.  This show has a great number of scenes many of which recur and each  was well crafted.  The technical arrangements for the electrical switches and the resultant flashes were very much appreciated by the audience.  The scene with The Hermit was most effective in its simplicity.  The lighting sequences were excellent particularly the use of spotlights and downlights – excellent.  The sound balance between singers and orchestra was very well managed throughout.  The costumes were cleverly worked to be as authentic to the scenes as possible.  This applied particularly to the ensemble with their ‘Transylvanian’ national dress.  The male principals were predominantly standard American clothing but the henchman Igor the hunchback was helped in his role by his versatile costume.  The blind hermit was appropriately dressed.  The overall effect was exciting, creative and colourful.

The orchestra was extremely well balanced throughout and particularly firmly controlled in the underscored sections by talented MD Diana Vivian.  The sympathetic accompaniment to both the principals and ensemble was very much appreciated.  The haunting violin solo and the horn motif were clearly heard together and musicians playing multiple instruments created a haunting tone throughout.

The production did not have a large cast, but everyone appeared to be totally focussed on developing their role within this farfetched story.  This level of focus is obviously the result of exacting rehearsals and the usual dedication to achieve excellence on the part of both the director, Heather Legat and the cast not forgetting the hard-working crew who had done so much to create the scenes.  Nick Lang so ably playing the part of Young Frankenstein was thoroughly credible and gave a consistent top-class performance throughout. He was very ably assisted by his henchman Igor whose physical movements and vocal delivery made his role thoroughly convincing.  Frau Blucher, the housekeeper, was strongly played by Rachel Davison who came over as a very dictatorial character but one who softened significantly to very ably deliver her song ‘He Vas My Boyfriend’. Victoria Howard-Andrews appeared from under the straw as the yodelling lab assistant, Inga, to gather Frederick into her arms and set him on a journey to the castle.  Her portrayal of the temptress was excellent (‘Roll In The Hay’) as was her song in act 2 ‘Listen To Your Heart’ which was very emotional.  Elizabeth Benning, with her great acting and strong singing voice for ‘Please Don’t Touch Me’ begins the show as the fiancée of Frederick however as the show progresses she finishes act 2 with her honeyed singing of ‘Ah Sweet Mystery of Life’ finally becoming engaged to The Monster.  Tom Ellenden as The Monster was very skilful in his portrayal of the reinvented character.  Richard White as Inspector Kemp and Geoff Vivian as The Hermit both made a solid contribution to this first-class line up.  They used their acting skills to great effect.

Hopefully the cast and crew enjoyed their journey through Transylvania as much as the audience did. 

Congratulations to all involved in this homage to horror films and including the perennial favourite ‘Puttin On The Ritz’

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