Anyone have any info on this? I'm not procrastinating until tomorrow.

Wouldn't it be cool if they did "Monster Mash"?

I think they are still doing the Puttin on the Ritz scene... "I'm tellin' you, the only times I really feel the presence of God are when I'm having sex and during a great Broadway musical." - Nathan Lane - Jeffrey

Too early. "If you are going to do something, do it well. And leave something witchy." -Charlie Manson

So what does that make you, Brody? A zero-trick pony? - Wanna Be A Foster .........................The only power brody wields is in his own mind, joe. But it's amusing to watch him pretend nonetheless. - tazber

I hope they can squeeze in 'Garlic'. That always makes me laugh! In fact, they could import most of the score of DotV!

puttin on the Ritz = one of the most brilliant comic scenes in the world. those two were so great The morning star always gets wonderful bright the minute before it has to go --doesn't it?

Some of the songs already announced from the score include: The Happiest Town in Town," a swing-dance bash ("The Transylvania Mania") "Join the Family Business," a gypsy spree. "Puttin' on the Ritz" (Brooks had to receive permission to use this). "The world will never starve for want of wonders; but only for want of wonder" ~ Gilbert Keith Chesterton ~

I also heard rumors about these: "My Boyfriend" - the Kurt Weill-style song for Frau Blucher (WHINNY!!!) "Big Love" - the song for Elizabeth after she just had s*x with the monster. Apparently, this could be cut because Megan got the job instead of Kristin. "How could she just suddenly, completely disappear into thin water?" - The Little Mermaid

The song isn't "Big Love", it's "Deep Love". And yes, Megan is singing it. Behind the fake tinsel of Broadway is real tinsel.

The program for THE WIZ at the La Jolla Playhouse had an article where Brooks talked about and listed some of the songs from Young Frankenstein. It's certainly not too early. Work that silver magic!

Sorry I messed that up, Lee. And I think it sounds like either "Happiest Town in Town" or "Family Business" could be good opening numbers. We'll just have to wait and see... "How could she just suddenly, completely disappear into thin water?" - The Little Mermaid

"He Vas My Boyfriend," is the song for Frau Blucher (neigh) that Mel's been highly publicizing. According to Todd Haimes, the artistic director of the Roundabout, the Van Dyke-Rivera strategy — casting a couple of talented no-names and crossing your fingers — is really a second choice these days. “Your first choice,” he said, “is to get a star who’s also great.” --Charles McGrath for The New York Times

Here is the text of Mel Brooks' interview in The Wiz's program at the La Jolla Playhouse: Performances Magazine Brooks on Broadway Q&A with “The Producer” himself. By Ed Ochs Mel Brooks' next comedy-musical assault on Broadway, Young Frankenstein, is about to lurch off the operating table and onto a stage for the first time. The surgery went surprisingly well, reports an excited Mr. Brooks. The effusive comedy genius that created the movie The Producers and turned it into a Tony-winning Broadway show, then back into a film again, will at tempt to repeat those historic steps with Young Frankenstein, only faster. Mr. Brooks agreed to talk to Performances if I agreed to quiet my nasal chuckle ("I hear horses neighing in the background."). Q. Can you give us a hint of the fun and insanity you have in store for audiences of Young Frankenstein? A. We're going to do the best and craziest of t he movie. For instance, instead of Frau Blucher explaining who she is, she'll sing a song called "He 'Yuz My Boyfriend," and so t hat you'll have a kind of Weill/Brecht sound, and she will sing an insane version of "He 'Yuz My Boyfriend." Where there are emotional peaks in the movie, like "Give my creature life," I've given Dr. Frankenstein a song screaming to the heavens, "Give My Creature Life! " When he meets Igor at the train station, instead of them just doing a joke or two, they will do a song together called "Together Again for the First Time," because their grandfathers worked together and now they'll be working together, but for t he first time. It's kind of a crazy vaudeville number. And, instead of just announcing to the students, "I'm not Frankenstein, the name is Fronkonsteen," he has a big song about his grandfather and father being lunatics. Q. Will people will walk out of the theater humming these songs? A. Oh, yes. I write very tuneful melodies, but I don't know if they're going to remember [the words]. The words are going to be very crazy and complicated. Q. Is this designed to make it very hard for kids to learn all the songs? A. Kids are amazing. When The Producers came out on CD...They're little fax machines. They hear it, they know it… I see this little kid, he's only 3 years old, he says, "Hello, Mel Brooks," and suddenly his mother says, "Sing 'Springtime for Hitler in Germany,'" and he sings it! They're little machines, these kids. Whatever they hear, they memorize immediately. Q. Where will you launch the production? A. It will rear its funny head first with rehearsals in New York. If we like it, if we think it's going to work-you never know- l think I'm going to take it out of town, probably as far as I can go to get away from New York, because if you go to Washington they'll just take the train down there. It's very strange. The earliest buzz is very good or very bad, and if you're not ready yet, if you just haven't polished it and things are not working the way you want, you can get a bad buzz and it won't help anything. We'll probably go to San Francisco or Seattle, someplace really away, but a sophisticated enough town to get the nuances, to get the dark little jokes. I won' t give up things like "Puttin' on the Ritz," for instance. Q. When do you plan to open on Broadway? A. I'd like to hit Broadway and open next summer, a big tourist time. It's a tough time to open if you're going for a Tony, but if the show's good enough, you'll get your share of rewards. But a few of the hip people in L.A., the theater mavens and theater lovers, will be flying up to Seattle. Q. I'm told you like to conduct focus groups after shows to get audience feedback-and that you listen and take their advice. A. I'm very interested in their take, because after the show I always ask a core audience if they want to stay and talk to me about what they liked or what they didn't like. I'd rather do that than talk to myself or people in my camp. They'll tell you in no polite manner, "Take that out, it stinks!" If you hear that enough, you'd be crazy not to take it out. I always ask one basic question to the audience, "Was it worth the ticket price or do you want your money back?" Normally, 99 percent of the time they say, "No, no, it was good, it was worth it, just for that one number, the Igor number or the monsters singing 'Putt in' on the Ritz: it was worth it just for that." Q. Broadway's doing really well right now. What do you think The Producers contributed to the current wave of success? A. We brought musical comedy back to Broadway after 25 years. The only shows making it on Broadway were Beauty and the Beast, Phantom of the Opera, all kinds of stuff like that, and nobody was doing Guys and Dolls, The Bells Are Ringing, Charley's Aunt, or any of the great old musicals. It was amazing, our show ran for nine months-can you believe that?-at the Pantages with Marty Short and Jason Alexander. We were the first musical comedy to ever run that long in L.A. It was a hell of a show and that was a heck of a cast. Los Angeles BWW