The New Mel Brooks Musical Young Frankenstein

It takes a brave theatre company to programme a musical no-one has seen in any form (though clearly much has been gleaned from the film Young Frankenstein) and which has never been performed in the state before. It’s even braver when the musical happens to be by the idiosyncratic vaudevillian Mel Brooks. Let me give huge bouquets to the terrific Heidelberg based ARC theatre for letting us see Young Frankenstein for the first time.

When Mel Brooks is good, he is awesome – witness the musical of The Producers and films like Young Frankenstein and Blazing Saddles – but it’s fair to say that this show isn’t in the same league. The tunes are hummable, but unremarkable, the humour is old hat and smutty, and the book is barely serviceable. Even the pretentious full title makes one groan. This is NOT the work that Brooks would want to leave as his legacy.

Nevertheless, ARC dives in to this production with oodles of energy and boundless enthusiasm from first time Director Steven Kent and his cast. Whilst they really have no experience of the Vaudevillian style needed to carry this off, their commitment is infectious and in the spirit of all great amateur theatre. ARC is twenty years old next year, and they love what they do. The funniest moments are those created by the production team itself, and not part of Brooks’ book. The result is an entertaining production of very average material. For a production to exceed the material is rare indeed, so more kudos for that.

In a show which requires a large cast and orchestra, Kent has done a sterling job of keeping rein on the blocking and performances. Some of it is guesswork, and the first act runs far too long at 1 hour and 25 minutes, but he has great back-up from choreographer Lisa-Marie David and Musical Director  Rebecca Dupuy- Purcell. For the most part the orchestra is skilled and very tight with cues and David keeps the choreography simple but effective. Even then, there is the usual problem of putting together an ensemble of uniform vocal and dancing skills. Some are simply better than others, but everyone gives 110%.

Harrison Wall is impressive in the title role as the doctor who goes to inherit his grandfather’s Estate and work. He plays Frederick in a manic fashion and could perhaps use some light and shade….there are overtones of Groucho Marx rather than the whimsical charm of Gene Wilder, but he connects with the audience and has great presence. Benjamin Stokes is surprisingly innovative as Igor – let’s face it, Marty Feldman is too hard an act to copy, and gets more laughs than the rest of the show put together. He and Wall are terrific in “Together Again for The Very First Time”. Ashleigh Clarke makes a feast out of Frau Blucher and is fabulous in her show stopping number “He vas my Boyfriend” – perhaps the best song in the entire show (apart from “Putting On The Ritz”, which is an Irving Berlin ring in). Demi Mangione is wonderfully ditsy as Inga, and James Phillips does well with the monster – though he is neither scary nor adorable. Noni Garret relishes her “Don’t Touch Me” number as Elizabeth and the supporting cast are all excellent. Steven Kent’s set works well and lighting and sound are impressive.

No doubt Young Frankenstein will delight the younger supporters of ARC who will view it simply as a good night out. For those who like more substance in their musicals, ARC’s next production is the classic  Lionel Bart’s Oliver! – which will no doubt delight all ages.

Coral Drouyn