REVIEW
The New Mel Brooks Musical: Young Frankenstein
ELOPE Musical Theatre
Runs until May 12
L’UniThéâtre
8627 – 91 St.
Tickets: $25 to $30. Call 780-420-1757 or at www.tixonthesquare.ca
The New Mel Brooks Musical: Young Frankenstein bombed on Broadway but delighted audiences at London’s West End. How would Edmonton audiences receive ELOPE Musical Theatre’s interpretation?
I laughed along with a receptive audience that was completely absorbed in this unapologetically bawdy romp now playing at L'UniThéâtre until May 12.
Spoofing both the classic horror films and Broadway’s sugary romantic musicals, Brooks tosses a pitchfork into this time-honoured pack of tropes.
Frederick Frankenstein, he pronounces it “Frankensteen,” an American doctor of anatomy, specifically the brain, receives a cable that his grandfather has died. He must return to Transylvania to claim the ancestral estate and his inheritance.
Initially Frederick is emphatic that he is a high-minded man of science and resists the temptation of grave robbing and reanimating dead tissue.
But after a dream about his ancestors and some heavy persuasion from Igor his sidekick, Frau Blucher the housekeeper and his shapely lab assistant, Inga, Frederick falls to the dark side.
Soon the good doctor has created a rampaging man-monster, who although he runs and hides from villagers, succeeds at inadvertently terrorizing the countryside.
Young Frankenstein is boisterous, brash and bellows some pretty corny jokes in your face. Yet somehow director Martin Galba contains the insanity in this colourful extravaganza.
This story is a vehicle for lunacy from Igor (pronounced Eye-gor), Frederick’s stooped sidekick whose hump keeps moving, to stern Frau Blucher who delivers a raunchy rendition of He Vas My Boyfriend to the mentally challenged Monster whose sex organs make up for what his brain lacks.
St. Albert’s Thomas Taylor as Igor and Erin Forwick-Whalley as Frau Blucher are two of the best things about the show. Both have superb comic timing and an intuitive sense of how far to push the political incorrectness of the show’s dubious sexual machinations.
Taylor in particular switches moods on the turn of a dime from being a mischievous rogue to an innocent scamp to a panicked servant all while keeping the crowd in the palm of his hand.
Frank Keller as the mustachioed Dr. Frederick Frankenstein, garbed in a three-piece pin-striped suit, is a perfectly bland replica of 1940s matinee idols.
Kathleen Sera, as Inga, Frederick’s hottie is the brainy blonde, the girl next door who reveals some incredible leg extensions and is not averse to a roll in the hay.
Dustin Berube, already a tall actor, as the Monster dons platforms and towers above all others. With green makeup and a hairpiece borrowed from The Three Stooges' wig collection, it’s no wonder terrified villagers wave pitchforks at him.
But there’s a scene where the Monster seeks refuge with a blind hermit (Todd Hauck) who serves up warm soup and wine. Being blind, the hermit's aim is terrible. Not only do we laugh at the Monster's unfortunate predicament, but Berube’s reactions gain our heart and sympathy.
Last but not least, Stephanie Sartore as Elizabeth Benning, Frederick’s arrogant and bosomy fiancée lets her pent-up sexual frustration rip in Please Don’t Touch Me much to the delight of the audience.
Kudos to Galba and Morgan Smith’s clever set piece consisting of several versatile multi-use theatrical panels, and for Galba’s snappy choreography.
Small cash-strapped companies such as ELOPE sometimes have difficulty attracting top-notch musicians. However, the 13 musicians providing accompaniment on this show are a tight, gifted ensemble that truly juiced showstoppers such as Transylvania Mania and Puttin’ On the Ritz. Three notable St. Albert players are keyboardist Keat Machtemes, percussionist Jacob Kryger and trumpeter Jean Runyon.
Young Frankenstein relies on camp and sexual innuendo. It's not a show for everyone. But if you enjoy theatre’s roots in absurdity, laughter and song, check out this high-energy barn-burner.
