Review: YOUNG FRANKENSTEIN at Theatre Three
It's alive! Theatre Three's 'Young Frankenstein' is monstrously funny
Spring has its official must-see show this season in Theatre Three’s production of “Young Frankenstein,” which had its opening night on Saturday, May 16.
A feast for hilarity and hormones, this “Young Frankenstein” lives up to the spirit and the pacing of Mel Brooks’s original 1974 movie.
The story follows the grandson of Victor Frankenstein, Frederick, as a trip to Transylvania becomes less about sorting his dead grandfather’s estate and more about taking up the family business of accidental monster making. To help him in his quest, Frederick has a team of quirky personalities who round out the non sequiturs so ubiquitous in a Mel Brooks piece.
Director Jeffrey Sanzel’s “Young Frankenstein” is a sparkling buffoonery comedy with strong direction to the performers to make the comedic timing seem effortless and welcome to the progress of the plot.
Choreographer Josie McSwane approached the show with ambition and the final presentation saw that ambition realized with nearly two dozen performers landing their marks and keeping up the energy.
Musical Director Jeffrey Hoffman lead a jaunty pit that understood the tongue-in-cheek nature of “Young Frankenstein.”
Costume and Wig Designer Ronald Green, III, brought his signature attention-to-detail to “Young Frankenstein” with bright and bold costumes contrasted with the Armani reticence of Frederick’s wardrobe.
Projection Designer Jack Eisenman really immersed the audience in the zany world of “Young Frankenstein.” Of particular note is the laboratory scene during the lightning storm where the entire stage seems to sink into the giggling depravity as the moving images and swaths of black marks envelope the performers.
Bobby Peterson as Frederick Frankenstein was a perfect leading man with boyish sensitivities. Embodying the young man trying to reinstate his family’s reputation, Peterson’s ability to make audiences swoon in delight while also carrying the frenetically-paced song and dance of the character, is a tall order (even taller than the Monster in 5” platforms) but one that Peterson accomplishes with ease and confidence.
Particularly in a number called “The Brain,” Peterson’s elocution of words like “medulla oblongata” is Swiss-watch precision and his breath control should be studied by the Navy Seals to combat waterboarding.
Veronica Fox as Inga, the compulsory hot blonde found in every Mel Brooks script, had a powerful voice and delightful Stage Presence that brought extra whimsy for every scene she was in. The fancy footwork looked effortless, especially in big ensemble numbers like “Puttin’ on the Ritz” and “Listen to Your Heart.”
As a comedic actress Fox’s underplaying of the vamp stock character worked well to add extra merriment to the clever puns.
Keith Jones as Igor was a stand-out performance as he quite literally became his character with head-scratching facial contortions. It was difficult not to turn your attention to Igor’s side antics, especially the scene where Igor hunts a fur scarf where Jones is the consummate scene-stealer layering an uppity dog on top of the curious lab assistant.
Linda May as Frau Blucher (neigh, neigh) was amusingly the out-of-place gothic widow whose looming macabre is pleasantly undermined by her previously unknown love life. A signature of May’s was the rendition of “He Vas My Boyfriend” and (seemingly) uncharacteristic gyrations.
Jules Greaves as the unaffectionate fiancée of Frederick, Elizabeth Benning, was played with confidence and condescending derision. In “Deep Love” Greaves’s voice was pure musical bright tones that colored the theatre in grand old stage tradition.
Bryan Bowie as the monster had perhaps the most physically challenging role. His acrobatics in “Puttin’ on the Ritz” could have been a show all on its own with his high jumps and meticulous toe tapping. His grunts and moans were articulated well to demonstrate meaning.
Bob Kaplan as the Hermit, who appears later in the show, was played with heartfelt goodness and had great chemistry with Bowie in his mishandlings of lunch.
A wonderful surprise was the Transylvania Quintet (Will Brennan, Patrick Campbell, Will Logan, Zac Allan Thompson, and Kiernan Urso) who broke the fourth wall with their excellent harmonized voices and comedic timing.
Photo Credit: Peter Lansdombe, Theatre Three Productions, Inc.
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