Ken Hoyt

It’s hard to believe that the original film Young Frankenstein is 33 years old. In 1974 Brooks and the film’s star Gene Wilder co-wrote the send up of classic (Lon Chaney/Boris Karloff era) horror movies. This version is a musical based on the film, following in the successful footsteps of Broadway smash The Producers.

I was happy to be a part of the opening night audience in Seattle, where the show is doing a month long shakedown prior to the Broadway opening later this fall. Having seen The Producers on Broadway, with the original cast, the prospect of seeing this show was very enticing.

Brooks is a master of vaudeville brand of broad comedy schtick (sort of a heavy-handed style of humor with little patience for terms like politically and correct). In fact part of the appeal of the Brooks oeuvre is the sense that nothing is truly off limits.

The original film is pure comedy gold… and has regularly been included in listings of the top funny movies. But making new entertainment from highly regarded source material poses a risk, both to the creators and performers. Stray too far from the beloved original and you’ll have long time fans frustrated. On the other hand performances need freshness in order not to feel like efficiently wrought mimicry.

Roger Bart as Dr. Frankenstein is controlled yet manic energy. He’s a pleasure to watch, but the role is demanding as he is on stage for nearly every scene.

Megan Mullally is somewhat underused in the first act, and the audience would love more of her. That’s not likely to happen, as her role has been expanded from the movie version with an extraneous number that will likely never make it to Broadway, Alone. She brings a familiar something to the role, a voice that is within striking distance of her Karen Walker character in Will & Grace. It works well for this role, but it reminds me that brilliant performers are often haunted by roles that become iconic.

Sutton Foster, who is perhaps the brightest young star on Broadway in this generation, is charming as Inga (the role that launched Teri Garr). She’s constantly onstage and a part of many ensemble number but only has two songs to call her own.

Andrea Martin (in the role of Frau Blucher) is, as always, world class and enchanting. She has my favorite number in the show and the song of which Brooks should be most proud. He Vas My Boyfriend is a vampy number set on a senior citizen… think Sally Bowles meets Kurt Weill, with a side of prunes.

Christopher Fitzgerald has performed a little magic in making the role of Igor his own. The inimitable Marty Feldman (who originated the part in the movie) would be pleased with Fitzgerald’s performance, which is an homage but not an imitation.

Susan Stroman guides this show as director and choreographer, as she did for The Producers. Which may account for some of the familiarity in the handling of the material. Not that emulating a success is bad, for the most part all of show business is structured on re-packaging a moneymaking idea. It’s of key importance not to let the machinery show, which makes the audience feel herded, not led.

Young Frankenstein plays at the Paramount in Seattle through September 1st. You’ll find tickets here. You’ll find a video interview with the leads on here on YouTube. And you’ll find some production photos here.

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