MEL BROOKS MUSICAL YOUNG FRANKENSTEIN REVIEW

When the final archive of movie history is finally written one name in the genre of comedy will stand out: Mel Brooks. Not only is Brooks considered a genius by his peers but audiences around the globe have been splitting their sides with laughter for decades; "Blazing Saddles," "The History of the World Part 1," "Spaceballs," and "Young Frankenstein," are among his pieces of gold. In 2001 the Broadway adaption of his classic film "The Producers," (Broadway cast starring Nathan Lane and Matthew Broderick) took home a record-shattering 12 Tony Awards.

This time around audiences are treated to another gem; the musical production of his classic film "Young Frankenstein." The film undoubtedly sported one of the best ensemble casts to ever be joined together: Gene Wilder (who also co-wrote the film with Brooks, Brooks directed the film), Marty Feldman, Teri Garr, Madeline Khan, Peter Boyle, and Cloris Leachman. It was silly, fun, and pure unadulterated comedy. For those who haven't been fortunate enough to see the original film (available on DVD) the story is based on Mary Shelley's classic novel "Frankenstein." The film and stage version are set in 1934. The original role played brilliantly in the film by Gene Wilder (Frederick Frankenstein '" pronounced Frank-ehn-steeen), is the grandson of Transylvania's resident '˜mad scientist', Dr. Victor Von Frankenstein, who has the reputation of rather odd experiments on the dead and their various body parts. After the doctor's untimely death (the opening scene of the play is Victor's funeral in Transylvania Heights) Frederick, played by Christopher Ryan in the touring company, learns he has inherited his grandfather's castle and must make the decision whether to stay in New York with his prudish, hands-off fiancée Elizabeth (Janine Divita) or venture half way around the world to the foreign land. Frederick himself is a well respected scientist in America as the Dean of Anatomy Studies at New York's Johns, Miriam and Anthony Hopkins School of Medicine. Frederick is very aware and rather ashamed of his grandfather's reputation and medical practices. Against his own better judgment he decides to make the journey to claim what is his.

Upon his arrival Frederick meets Igor (pronounced Eye-Core, played by Cory English. (who also starred in the Original Broadway Cast and is outstanding in this role) Igor himself is the grandson of Victor's henchman. Igor is a rather shy, hump-backed, charming, smart as a whip character who wishes to follow in his grandfather's footsteps serving the new generation Frankenstein. Enter Inga (Synthis Link), a beautiful and buxom laboratory assistant Igor hired to try and persuade Frederick to stay and team up with him. She has a mind for sex and not much else which makes her incredibly irresistible not only to Frederick but the audience as well. Once upon their arrival at the castle they are met by the rather scary and unsettling Caretaker, Frau Blucher (Joanna Glushak). My description of Frau really doesn't do the character justice. All I can add is: the very mention of her name aloud elicits horrific neighs from the horses. Something I don't quite understand myself but makes me laugh every single time.

During a dream sequence Frederick is visited by Victor and persuaded to carry on with his grandfather's work. As Frederick is awoken by Inga she joins him in discovering a hidden passageway in the library. You know every castle has a hidden entrance to somewhere. Thankfully one of the most unforgettable comedic moments of the film worked just as brilliantly on the stage: the infamous '˜put the candle back,' gag with the revolving bookcase. Frederick is given one of his grandfather's books by Frau and decides to take on the '˜family business,' and continue his experiments, reanimate the dead. Thus, The Monster (Preston Thurman Boyd) is created, well, born and is loudly pronounced "He's Alive!" However not is all well in the happy new family. Igor made a slight error. Instead of giving Frederick the exceptional brain of a genius (which he dropped and stepped on) for the Monster he produced the brain once owned by Abby Normal '" abnormal. You get the gag. Brooks double-entendres when it comes to describing sex, body parts, and sexual acts involving body parts is still as funny in this production as it was in the original film. Let's face it, the guy is damn clever. I don't really classify Brooks as slapstick however his comedic timing is priceless and right on the money. The only question that comes to mind is, would Brooks '˜Frankenstein,' play as well in musical theater as it did in film? The answer is an unheralded '˜yes.' Brooks dialogue and gags are basically still present. Had this show been born on its own and not based on a classic material the answer to the question may or may not have turned out different.

The book "Young Frankenstein," written by Mel Brooks and Thomas Meehan reads like the wonderful screenplay it turned out to be. The music and lyrics (like the Broadway production of "The Producers.") is penned by Brooks. Susan Stroman's direction and choreography of the stage show is flawless and flows easily and evenly. The sets are amazing, especially the stark laboratory; the place where all the magic happens. The musical score is wickedly fun. "He Vas My Boyfriend," "The Transylvania Mania," (which surprisingly sends '˜The Monster' running down the aisle and through the audience to an exit door) and the hysterical version of Irving Berlin's "Puttin' On The Ritz," are simply unforgettable. The entire cast is enchanting onstage. Their vocals and ensemble acting is top notch. All the voices blend well and make this production seem effortless. Christopher Ryan is enchanting and charming in the role of Frederick. Boyd is a loveable '˜monster,' and just a fun green guy to hang out with. As with the rest of the actors, the cast runs like a well oiled machine and projects a comradely to the audience. Much like the film ensemble the actors in this show make the experience of "Young Frankenstein," a darn good time to watch.

This run of the show at the Broward Center for the Performing Arts runs from Wednesday, October 6 through Sunday, October 17, 2010. If you are a resident of South Florida and a Mel Brooks fan this production is well worth the trip. To make it extra special the Broward Center is celebrating 20 years of bringing first class entertainment to the stage. If you're not in the area check with your local Ticketmaster and make a date to see it when it arrives in your area. You won't be disappointed. But be warned: you're going to have a raucous good time.