BWW Reviews: Woof! YOUNG FRANKENSTEIN is on the Loose at Pantages

I revert to childhood when I see a Mel Brooks movie or show. The sillier the better: the sight gags, the double entendres, the more the merrier. The New Mel Brooks Musical, Young Frankenstein is a real rip-roaring hoot of a show from start to finish with a great cast and zippy fast-paced direction from Susan Stroman.

When the show played New York, it fared poorly with critics and many audiences claimed emphatically that it just wasn't worth it, so not to waste your money and time. If that production was as good as this road show, the claims seem extreme, unfounded and audiences just do not appreciate the sense of humor that the piece puts out. If you like Brooks' zany, campy over-the-top, fantastical satire, you can't help but love it. All the famous lines from the film are intact, and the songs add extra flair. Of course, the film version is incomparable. No one can replace Gene Wilder, Madeline Kahn, Teri Garr, Cloris Leachman and Marty Feldman. They all gave superb performances for the camera. Leachman's Ovaltine scene is so memorable because of the subtle things she did with her eyes and voice. On stage, the performance must be bigger and broadeR. Wilder had a unique delivery that relied on a look with his eyes, as did Marty Feldman... one smile with those bulging Feldman eyes was enough to make anyone fall off his seat. However, the stage show has to be even wilder and grander in scope and has its own set of pluses to delight.

Take for example the phenomenal cast. Roger Bart makes Frederick Frankenstein totally his own with his soft-spoken, almost whispery deadpan delivery. Cory English is a physical miracle as Igor and Shuler Hensley makes the Monster an agile and loveable piece of work. Brad Oscar as Inspector Kemp/Hermit is another remarkable actor whose versatility shines. His "Please Send Me Someone" as the lonely hermit is deadon believable and hilarious. All the ladies make the female characters distinct. Anne Horak is a delight as Inga, luscious and vulnerably winning, Beth Curry may be a bit detached as Elizabeth but she most definitely creates a woman unlike other Elizabeths thus far. Joanna Glushak is simply great as Frau Blucher. Her over-the-top diva is the typical Brooksian woman, full of sexual mischief - a real spitfire. Her "He Vas My Boyfriend"has enough energy to ignite a forest fire. The entire ensemble work magic under Stroman's amazing choreography, especially noted in "Puttin' On the Ritz", "Join the Family Business" and "Transylvania Mania".

Endless praise as well to Robin Wagner for a dynamite scenic design, to William Ivey Long for fine period costumes, to Peter Kaczorowski for some terrific lighting effects and to Jonathan Deans for sound design. An appropriate set is so vital to the success of this kind of show. The laboratory with its gadgets and operating table, the castle exterior, the scary woods, the quaint old streets of Transylvania Heights - it's all here, except the castle staircase, thanks to Wagner's genius.

Brooks' music , like his songs for The Producers, are tuneful and upbeat. They titillate while we're listening, even if we do not hum them the next day. His strongest suit is his book. I like how he gives Frau Blucher more involvement with the other characters throughout, and the edge-of-your-seat finale at the gallows and the presence of yet another famous Transylvanian, who will remain nameless.

"Woof! He's going to be very popular." sort of sums up the whole proceedings. Despite the early mixed notices, Young Frankenstein has sold out houses cross country. This is a giant, crowd-pleasing show that will tickle your funny bone, or at least make you smile about every five seconds.

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Young Frankenstein
book by Mel Brooks & Thomas Meehan
music & lyrics by Mel Brooks
directed & choreographed by Susan Stroman
Pantages Theatre
through August 8

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