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Young Frankenstein and the Theater Experience

Something strange happened at the theater. I read that this theater in New York City was running Mel Brooks’ Young Frankenstein. My first reaction was: “Awesome!” You see, I’d never seen the film on the big screen, so I eagerly bought a ticket. This was an opportunity that I did not want to miss. Yes, the ticket did seem awfully expensive, but it was still well worth the expense.

The big day arrived. I drove to the train station and was lucky enough to find a parking space that was something like half a mile from the platform (although it felt like much longer). I made the long walk, purchased a round trip train ticket and waited. Soon I was nestled in my seat watching the Hudson River zip past. I arrived at Grand Central Terminal, made my way up to 42nd Street, turned right and began to walk.

I walked a few blocks, passing the Mets Clubhouse store, the New York Public Library, and Times Square, and then I saw the sign, in big letters: “YOUNG FRANKENSTEIN.” I knew I was in the right place. But I found it a little odd that they only seemed to be showing one film, and the signage seemed a little much for a film that is more than thirty years old. But who am I to complain?

I went inside, picked up my ticket at the will call window, and went to walk around the city to kill some time. I did have about two hours before the start. So, I walked uptown and downtown, took a few pictures, and visited St. Patrick’s Cathedral, and by the time I got through there, it was time to head back.

Back at the theater I followed the growing crowd inside and was directed upstairs to the balcony. I found my seat and settled into the surprisingly comfortable seat. I looked down and saw a nicely designed screen image showing a winding path leading to an eerie castle. This was definitely a classy joint, chandeliers hanging from the ceiling and none of those pre-show trailers and commercials.

2:00 arrived and the strangeness continued. Rather than the film being projected on the screen, the screen was raised up to reveal the characters standing there.

Wait, it gets stranger.

I was looking for the black and white film to begin, but it was in color. Color! Something strange was going on. Had someone made a remake that I did not know about? And, hold the phone, those characters were people! I mean, people who were really there. This couldn’t be a 3D screening, I wasn’t wearing any glasses. Those people were really there on the stage!

Okay, let’s see what we have here: comfortable seats, classy surroundings, real people on the stage, more songs than I remember, and a lead actor who doesn’t look anything like Gene Wilder. Upon closer inspection I recognized that guy as Roger Bart. The last time I saw him, he was on the receiving end of a pair of clippers (it didn’t end well). He certainly appears to have made a full recovery from any ill effects. Good for him.

A sudden realization dawned upon me. This was not the classic movie that I love so much, it was not a remake, and it was not a 3D screening. It was, in fact, a new musical based on the Mel Brooks classic. After all, the theater was quite close to Broadway. With this knowledge, I sat back, determined to enjoy what I saw.

I am no theater critic; the shows I have seen can be counted on one hand. However, being familiar with the film helped with the Broadway theater experience. This show was a blast. The songs were big and memorable, the choreography was excellent, and I found myself laughing out loud many times.

The story follows Dr. Frankenstein, a professor in New York City, who travels to Transylvania in the wake of his grandfather’s death, an event celebrated by the townsfolk who have been terrorized by his monstrous creations. Frankenstein is determined not to take up the family business, not wanting to deal with the reanimation of dead tissue. However, the influence of Igor, a hunchbacked man whose only desire is to assist in the research, as well as Inga, the buxom lab assistant, and the surprising appearance of Frankenstein’s dead relative, inspire him to enter the hidden laboratory and resume the experiments.

Seeing the story on the stage brings a wonderful new dynamic. I am simply amazed at what can be done with stage setups and special effects in such a limited space, the seamless transitions, and the ease with which all involved approach the performance. I can only imagine how much rehearsing has to go into making the show work. The entire cast did a fantastic job of telling the story of Young Frankenstein.

There are a number of great songs. Among the most memorable are “Don’t Touch Me,” sung by Elizabeth to Frankenstein prior to his departure for Transylvania, Inga’s “Roll in the Hay” (a line made memorable by Teri Garr in the film), “He Vas My Boyfriend” from the housekeeper Frau Bleucher, and, of course, “Puttin’ on the Ritz” featuring the Monster.

In short, this show is a blast. The music is great, the performances are great (even though Megan Mullaly was not there), and it is just a lot of fun. Do yourself a favor, go and see it.

Here is a performance of “Roll in the Hay” from The Late Show with David Letterman:

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  • Condor

    Who has the disposible income to attend a play, or a concert?? Wait until gas hits 6 bucks a gallon… then all the cultural stuff we used to enjoy will wither on the vine.

    sorry

  • http://draven99.blogspot.com Chris Beaumont

    Gee thanks for your productive addition….. It’s not like I’m going to plays all the time, you can count my entire experience on one hand.

  • Condor

    You are welcome. The last play/musical I attended was Carbaret with Terry Hatcher. It was terrible… and Hatcher barely filled out the scant garb she was wearing. Bone thin in physical appearance with a tired, weak singing voice to match. What a waste.

    I enjoyed the classics while attending college. We had a great theator/arts department which put on some great productions. Not broadway, not even off-broadway, but students perfecting the craft. I wonder how many stuck with it? Probably very few. I can’t imagine a Young Frankenstien without Kahn and Boyle, or Wilder, and Feldman. That was a classic comedy. Gosh, Wilder is the only one living and he’s not working much, if any.

    Community theator is okay, and cheap, and YOU can get involved.