Young Frankenstein

It was a pleasure to attend Hartlepool Stage Society’s production of Mel Brooks’ madcap masterpiece, Young Frankenstein. As is so often the case with live theatre, anything can happen—and on this occasion, it most certainly did. The production was not without its challenges: a sudden power cut in the area, not the venue, plunged the auditorium into darkness, on the night I attended mid-way through “Putting on the Ritz” in Act 2 leading to the entire theatre being evacuated. As such I offered to attend the following evening to complete the report. However, on the second evening, an unexpected fire alarm brought the place to a halt in Act 1! Someone give these guys a break! Yet in the face of these adversities, the performers rallied with professionalism and resolve, transforming potential disaster into a shining example of community theatre at its best. They carried on with some hilarious ad-libbing and the audience could not have been more supportive.  For that alone you deserved the standing ovation this production received. If you can cope with that, you can cope with anything!

While Young Frankenstein is known for its grand theatrical effects, Hartlepool Stage Society wisely opted for a simple set. Modular pieces evoked the haunted castle and laboratories of the piece without overpowering the performers. Clever use of lighting (when it was available!) distinguished locations: icy blues for the Transylvanian countryside, sickly greens for the laboratory, and dramatic reds for moments of high drama. The technical crew showed remarkable tenacity: when power was restored, cues were picked up seamlessly, and the show’s pacing did not suffer. Sound, too, was well-balanced, ensuring that every witty lyric and line was audible. Well done to the technical team!

The costumes were excellent, complimenting the cast well.

The role of Frederick demands both vocal dexterity and a flair for physical comedy, and the society’s leading actor delivered in droves. I was extremely surprised to learn that Chris Toth was actually a newcomer to the stage! From the frantic patter of “The Brain” to the bravura tap routine of “Puttin’ on the Ritz,” his performance was energetic, nuanced, and thoroughly engaging. His character’s journey from sceptical scientist to exuberant showman was charted with confidence and wit and I genuinely thought I was watching a seasoned performer.  Really well-done Chris.

Lucy Stokle with a sweet, beautiful voice, played Inga’s playful exuberance superbly matched by a clear voice and superb comic timing. The performance of “Roll in the Hay” was a highlight, delivered with infectious enthusiasm and just the right amount of tongue-in-cheek innuendo. The chemistry with Frederick was palpable and brought warmth to the production.

Always a crowd favourite, Igor’s performance by director Peter Rowlands was a masterclass in physical comedy and audience engagement. We relished every absurd line and sight gag, and the audience responded in kind, roaring with laughter at his quips and puns. His characterisation was excellent, and personally I think it very difficult to get right whilst also directing, but Peter smashed this comic role. Timing, wit, humour, acting and delivery utterly perfect, loved it!

Katie Devine delivered Frau Blücher’s deadpan delivery and withering glares brilliantly, again being an absolute master in the ability to connect with the audience and provide that Mel Brooks hilarity. Her facial expressions deserved a curtain call of their own! The comedic timing was impeccable, and “He Vas My Boyfriend” brought the house down, despite the technical hiccups and having to restart her scene in Act 2, she smashed it. Absolutely marvellous!

Perhaps no role requires as much transformation as The Monster, and I really enjoyed the social media video released of Shane Foster’s transformation into this complex creature. His physicality was impressive, using movement and gesture to convey both pathos and hilarity. The climactic “Puttin’ on the Ritz” was a particular triumph, especially the shadow dance section, with the audience thoroughly enjoying his journey.

I adored Liz Marshall’s portrayal of Elizabeth Benning. Literally adored it. Sexy, hilarious, comedic, beautiful, charming and a voice that stunned, quite frankly. Incredible portrayal Liz, be proud of yourself, I loved it!

Paul Brooks gave us a stern and severe Inspector Kemp, a stark contrast to the comedic and lively characters and Michael Dignen delivered The Hermit with equal measures of hilarity and sincerity.

The supporting players were uniformly strong, with clear diction and characterisation. Whether villagers, medical students, or torch-bearing mobs, each performer contributed to a vibrant and cohesive ensemble. The choreography was tight and well-rehearsed, a testament to the cast’s commitment and the director’s clear vision. As Hartlepool Stage Society know, I’ve an especial fondness for a tap number and “Puttin on the Ritz” was a marvel, equal measures of glitz, glamour, and energy which the audiences absolutely loved.

What could have been a fraught evening became one of camaraderie and celebration. The audience, ever supportive, responded with grace and patience to the unexpected challenges supporting the cast unequivocally with the unexpected technical issues.

Hartlepool Stage Society’s production of Young Frankenstein stands as a beacon of amateur theatre excellence. Not only did the cast and crew conquer the adversity of power cuts and fire alarms, but they did so with style, humour, and professionalism. The simple set proved entirely apt, allowing the sparkling costumes and superb performances to take centre stage. It was a night that reminded us all of the resilience and joy at the heart of community theatre.

I look forward with great anticipation to the society’s next production, and I wish them—as always—every success. Bravo!

 

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