When Dr. Frankenstein arrives in Transylvania, he is greeted by the hunchback Igor, the role originated by Marty Feldman. Christopher Fitzgerald makes the part his own, however, and he too has a smash first number, “Together Again,” a duet that also finally allows Bart to let loose. And from here on the plot begins to gain traction as well – for a while.
One of the problems with Young Frankenstein is that it lacks the magical exploding plot mechanics of the first two-thirds or so of The Producers. That show also managed to keep the hilarity and general insanity at a much higher level than Young Frankenstein, despite some great bits, is able to sustain. Here the story builds to the first-act climax of Frederick creating a monster, just like his grandfather. But in the second act, there is less of a plot engine.
Luckily, there’s plenty of song-and-dance fun to fill this gap. But it would be better if there were both. And there’s no real way to match the black-and-white film’s hilarious dead-on parody of the classic horror movies of the 1930s. Those movies were about as far from a lavishly produced 21st-century Broadway musical as anything could be, although Brooks does often successfully capture the quality of old-horror-movie music in his underscoring.
Andrea Martin is often very funny as creepy housekeeper Frau Blucher (the Cloris Leachman role originally), and she has a great number whose title is taken from one of the big laugh lines in the movie: “He Vas My Boyfriend.” Sutton Foster, who has actually starred in more Broadway hits than most of the other headliners here, has a less inherently funny part than Mullally or Martin – she’s the sexy lab assistant Inga, and though she gives it her best and has plenty of stage time, she’s never as crazy-silly as the others. This problem also crops up with Roger Bart, who ends up playing straight man to the hellzapoppin wildness around him. It’s unfair but inevitable to compare him to Wilder (co-author of the film script as well as the star), who gave a classic screwball performance – but Bart, here, too rarely shows the gift for spectacular silliness he displayed in The Producers.
Article comments
1 - Chris McVetta
Young Frankenstein is one of the best comedy films of all time - too bad (it sounds like) the play didn't bring "this monster" to life in the same fashion.
2 - Charles W. Smith
We must always keep in mind that the Broadway Musical genre, which is an American contribution to the world of theatre is, was and always will be about ENTERTAINMENT and nothing else. If it exhibits some intrinsic structural inequities and the spectators seem to enjoy it---so be it. These problems can, and you had better believe will be corrected. If American musical theatre is to survive we MUST pay heed to GOETHE's rules for for criticism--and be always constructive and never destructive, and try to be objective and not revel in the super-egotistical indulgence of hyper-subjectivity. Ticket buyers want to know what they will see and not what a critic thinks that they will think when they see it. If the scenery remains in it's place, actor's remember their words and the orchestra is not out of tune,and the audience enjoys the total effort, what else matters?
3 - handyguy
"We must always keep in mind..."
Oh, must we indeed? Thanks for this silly advice, which has little or nothing to do with the review I wrote.
4 - Faith
It is NOT the Producers, and it is NOT the movie, it is BASED on a movie. Just like you shouldn't care about my OPINION, I don't care about anyone else's. I have tickets, and I'll enjoy the effort...or I won't (but I doubt I won't, after all, it's Mel Brooks!)
5 - handyguy
Dear Faith:
I certainly hope you have a good time.
Did my review sound like such a vicious pan? It wasn't intended as such. The reviews in both the NY Times and the Wall St Journal yesterday also called it mildly entertaining but overproduced and too loud. If that sounds good to you, you'll enjoy it.
6 - Wm Kleimenhagen
At the end of the play the audience gave a standing ovation. That should tell you something of the quality of this entertainment. My wife and I found Young Frankenstein quite delightful and would recommend that you see this play when visiting New York City.
7 - handyguy
Every audience at every Broadway show every night gives a standing ovation.
European visitors find this odd, since they tend to consider a sitting ovation sufficient praise for 99% of performances, reserving a standing ovation for the rare truly great performance.
I'm glad you had a good time for your $120-plus, but don't be deceived that the Standing O proves anything.