Review: MEL BROOKS' YOUNG FRANKENSTEIN at Murry's Dinner Playhouse in Little Rock

Have you ever laughed so hard you nearly spit out your custom made green pina colada? That’s the kind of delightfully zany fun waiting for you at Young Frankenstein, now playing at Murry’s Dinner Playhouse in Little Rock through November 8. With Mel Brooks’ outrageous humor, toe-tapping musical numbers, and Murry’s signature blend of good food and great theatre, this production is an absolute scream—literally. 

Directed by Don Bolinger, Young Frankenstein brings the beloved 1974 Mel Brooks film to musical life with the same irreverent wit and monster-sized heart. The story follows Dr. Frederick Frankenstein—pronounced “Fronk-en-steen”—a respected brain surgeon who inherits his infamous grandfather’s Transylvanian estate. Determined not to repeat his ancestor’s mistakes, Frederick’s curiosity (and a few electric sparks) get the better of him as he reanimates a corpse with the help of his eccentric assistants: Igor, Inga, and the enigmatic Frau Blücher (cue the horses!). Add in his glamorous fiancée Elizabeth and the stern Inspector Hans Kemp, and the result is a monstrously funny night at the theatre. 

Leading this laugh-out-loud cast, Quinn Gasaway, possibly my favorite comedic actor in Arkansas, is perfectly charged as Frederick Frankenstein. His energy and controlled mania make for a wonderfully mad performance that channels Gene Wilder’s iconic charm while feeling completely his own. Gasaway’s knack for physical comedy and expressive delivery keeps the audience in stitches from his first entrance to his final bow.  

Ethan Patterson cracks me up! He is so funny as Igor, bounding around the stage with wide-eyed mischief and pitch-perfect timing. His chemistry with Gasaway keeps every gag fresh and unpredictable. 

Katie Greer is radiant as Inga, sweetly seductive with a golden voice that shines in “Roll in the Hay.” Her playful performance adds warmth to all the wildness and sparks plenty of onstage chemistry with the good doctor. Meanwhile, Moriah Connerson’s glamorous Elizabeth keeps the mad scientist’s heart in turmoil. Their love triangle adds a fun romantic undercurrent to all the chaos, especially when Elizabeth belts out “Please Don’t Touch Me,” a hysterically prim-and-proper plea that brings the house down with laughter. 

When Koty Mansfield’s Monster bursts to life, the electricity on stage is undeniable. Mansfield’s physicality and comedic instincts make every grumble, growl, and tap-dance step hilarious. His “Puttin’ on the Ritz” duet with Gasaway is pure magic, a comedic crescendo that perfectly encapsulates the joyful absurdity of Mel Brooks’ humor. Dressed to the nines, the duo steps into the spotlight with tuxedos, top hats, and synchronized moves that would make Fred Astaire grin from beyond the grave. As the number builds, the ensemble joins in with precision taps and goofy grins, until the audience can’t help but erupt in applause. We all anticipated the number, and were well entertained when it was time.  

I love Miranda Jane, and her Frau Blücher is an absolute riot. She leans into the role’s mysterious allure with impeccable comic timing, with every arched brow, every sly smirk, and especially every long, dramatic pause is pure gold. Her exaggerated seriousness only makes the absurdity around her funnier, and the infamous “neighing horse” gag never gets old when she’s onstage. Tim Cooper as Inspector Hans Kemp rounds out the cast beautifully, striking just the right balance of seriousness and slapstick to land every laugh with precision.  

This whole A-list cast, including ensemble, had us all in tears laughing so much. Fun was had by all! 

Visually, this production is a treat. Murry’s impressive set transports audiences to the spooky, lightning-filled castle with mad-scientist flair. The costumes are colorful and character-driven, and the choreography bursts with energy, especially in the big ensemble numbers. Bolinger’s direction ensures that every joke, pratfall, and punchline hits its mark while keeping the pacing snappy and the tone delightfully campy. 

And, of course, part of the Murry’s experience is the meal itself. The buffet is hearty, the staff attentive, and the atmosphere inviting. I feel like they are all my friends, and I love coming for a visit. As always I try a little bit of everything on the buffet. When I made it to the pot roast, a lot of the roast part was already picked out, though I’m sure if I lingered a bit longer, they would have added more to it, but what I had was tasty. Still, the cod is my favorite. The green beans were pretty yummy too. My favorite dessert, the cheesecake ball, was decadent, so I had two of them. For my drink, I ordered the virgin pina colada. My bartender and behind the scenes magician turned it green for me. All my fellow audience members were asking me about it. It was tasty. I’m ready for another one! 

While I’m in the mood to call out people, I want to show some love to ticket taker Kara, the first person you meet when you go into MDP. Even though the line is long to get into this venue, she makes the wait well worth it. She is friendly to everyone and so accommodating. We all love her! 

With Young Frankenstein, Murry’s Dinner Playhouse once again proves why it’s a Little Rock favorite for laughs and live entertainment. This cast is fearless, the direction tight, and the comedy electric. So grab your tickets, bring your appetite, and get ready for a monstrously fun night—it’s alive with laughter! 

CREATIVE TEAM

Director -- Don Bolinger

Assistant Director & Choreographer -- Moriah Connerson

Music Director -- Tim Cooper

Artistic Director -- Glen J Gilbert

Stage Manager/Props/Lights/Sound -- Keylan Alderson

Set Design & Curtain Speech -- Roger M Eaves

Costumes -- Mari Allen Burbank

Set Construction -- Mark Carlisle

Scenic Painter -- Elaina Petroukhina

Arkansas Awards - Live Stats

Best Musical - Top 3

1. THE WIZARD OF OZ (Arts One Presents)

12.6% of votes

2. CINDERELLA: THE BROADWAY VERSION (Arkansas State University Theatre)

12.3% of votes

3. TUCK EVERLASTING (Harding University Theatre)

10.9% of votes

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