Review: Alexander Showcase Theatre's THE NEW MEL BROOKS MUSICAL YOUNG FRANKENSTEIN

The New Mel Brooks Musical Young Frankenstein is based on Mel Brooks' movie of the same name. It follows the story of Victor Frankenstein's grandson, and pokes fun at all of the Frankenstein installments.

This brilliant Mel Brooks musical ended on Broadway too soon, and its national tour was way too brief. Its musical numbers are hysterical, and the script is true to the original movies nature - those one-liners just never get old. The musical itself is brilliant.

The talent in Alexander Showcase Theatre production of Young Frankenstein is nothing short of breathtaking. Literally - you lose all ability to breath during this show, because start to finish all jokes are delivered perfectly. You just don't stop laughing.

The cast was phenomenal; there was no weak link. Everyone's performance was spot on. All actors seemed to grasp their character, and had impeccable comedic timing. They drove the plot line and made the show.

Erin Hyde owned her role as Elizabeth Benning, Madeline Kahn's role in the film as Frederick Frankenstein's bride-to-be. Hyde was a balance of Megan Mullally and Madeline Kahn's take on the role. Mullally originated the role in the stage production and brought a unique quirky sex appeal to the role. Hyde totally killed this, as she owned the stage with the musicals most hysterical and sex charged numbers, "Please Don't Touch Me," and "Deep Love." Hyde manages to sing about boobs and giant genetalia in a classy way - this is shockingly possible.

Christine Lindo played the role of Ingra, Frankenstein's sexy Swedish lab assistant. Her chemistry with Patrick Brown's Fredrick Frankenstein was

Patrick Brown's Frederick Frankenstein " width="202" height="339" />mind-blowing - especially because Brown's wife shared the stage with them. Lindo managed to find that perfect balance between sexy and innocent, allowing her to nail her two big numbers "Roll in Ze Hay," and "Listen to Your Heart." Her solo in "Puttin' On The Ritz," was perfectly sweet and sultry.

Andrea Brown was the scene-stealer of the show. She never broke character as Frau Blucher (neigh). Lips perched and head up, Brown's mannerisms as Blucher were perfect. Her number "He Vas My Boyfriend," got the loudest cheer of the night.

Marty Feldman who originated the role of Igor in the Mel Brooks film had crazy eyes and mannerisms that made him lovably creepy. Matt McGrath clearly studied Feldman closely, because his performance mirrored that of the late actor. From his goofy smile to his walk, McGrath hit all the right notes. He had some of the shows greatest lines ranging from "Sed-a-give," to "Abby...Abby Normal," and of course "Werewolf?, There wolf.

Finally, the leading man was Roger Bart incarnate. Bart originated the role of Frederick Frankenstein on the Broadway stage, and Patrick Brown not only looked like him, but sounded like him too. His line delivery and facial expressions were all perfection. Brown was the perfect amount of insane in this role, and had the audience howling. He stayed in character up until curtain call, and had no weak moments. All his numbers were killer, and he set the stage for a great show with his first big solo number, "The Brain."

The cast did not try to put their own spin on their numbers nor on the script, which is commendable. They instead executed these iconic characters perfectly, nailing their mannerisms and ways of speaking. All of the iconic one liners, like "walk this way," were present in the show, and were just as funny as they were in the movie. The actors all did Mel Brooks proud by staying true to the honest hilarity of his musical.

The actors all drew from one another, and worked well together. When all major characters were on stage together they reacted to one another and really played off of each other. When minor technical issues arose, like a falling set piece (oops), the ensemble was efficient in fixing the problem, and the main cast members walked about the stage and went on the show, not letting slight problems affect the performance.

The show was enjoyable, as there were no weak links in the cast, and the show stayed true to

the film and original Broadway production. A balance was found between the characterization in both works, especially in Hydes Elizabeth Benning who was a mix of Megan Mullally's quirkiness and Madeline Kahn's class. The set, cast, and overall feel of the show were truly gratifying and pleasing. You are bound to leave the theatre smiling and still singing. Chances are, audience members will go home to relive the magic by watching the film of Young Frankenstein.

The show will be running at the Al Green Theatre, 720 Spadina Avenue at the corner of Bloor and Spadina, April 18th to 21st, 2013. Evening performances begin at 7:30 p.m. and Sunday matinees start at 2:00pm.

Tickets are available for $32 dollars for Students, and $27 dollars for Seniors.

Reader Reviews

To post a comment, you must register and login.

Need more Toronto Theatre News in your life?
Sign up for all the news on the Summer season, discounts & more...