YOUNG FRANKENSTEIN:THE MUSICAL

Ok, so I do have to say that it is a funny and highly enjoyable show, it’s just not as funny as other movie-to -stage productions of classic comedies, like SPAMALOT (which this will remind you of in very subtle ways) or The PRODUCERS. It has great sets, lighting, sound, visuals, costumes, funny songs, silly moments, and overall solid performances. What is refreshing is that the play remains true to the film with it’s embrace of straight sex through innuendo, hilarity, naughty playfulness and fun. Which was great to see after having sat through and read endless plays and audition notices where young men are or asked to be nude or simulate gay male sex. And, if the actors are playing a straight role, you don’t believe they have a libido for women. Broadway needs more straight characters that read and play straight. Now don’t let this be a starting point for any of you morons who think I am “bashing” or phobic or any of that shit.

The show itself , however is just 10-15 minutes too long.

Roger Bart channels Gene Wilder just enough to keep true to the excitable-nebbish nerd quality without coming across as an impersonation. Andrea Martin is the highlight, wasting no moment and is extremely precise and simple; conveying great complexities in the character; there’s something else going on behind the face, always vibrant & thinking. SHE’s Alive!
Megan Mullaly is fine, well cast...her songs are funny and she’s in great voice. I’m not a big fan so the fact she’s not in much of this is fine with me. It’s pretty much what the role call for from the film with addition of 3 very funny songs, which she does very well, but it seems she needs to find more precise moments and range herself at some points. Her first number could be shortened in the beginning as it takes a bit too long to build.
The Igor guy is good apart from the fact he was always hitting on my gal back at Rollins College (they went there, I didn’t) in extremely sexist, gross, harassing terms. However, his performance is very solid in this.
Which is brings us to Sutton Foster, who apparently has a Tony, which cannot possibly be for acting in a show. Maybe she was costume designer? Ok, I’m being a bit mean… she’s got a great singing voice and is impressive yodeling in her introduction number, it seemed to take the first act to find an accent. No one made me long for the original film cast member more than her. Forget the name get someone who can do the accent. It did show up, poorly in Act 2. By that time you’re conscious of the fact that she could be easily interchanged with any chorus girl in the show... it look, body type, abilities. On of them maybe could have even had a funny accent. The cast is, however, on the first NY night, waiting for the big long laughs that are mere chuckles. Maybe Seattle was SO thrilled to have Broadway show and stars in their midst that they were caught up in the atmosphere. But Acting (indeed Comedy) 101 says “ don’t wait for the laugh if it doesn’t come… get on with the next bit of business... " Hopefully after last night they will.)
My questions and problems arise from the overt need to sing so goddamned much and dance for so goddamned long. The “Family Business” number is well staged, cool looking but adds 5 minutes to an already long show, and was never in the film... the Young Doctor NEVER had a dream sequence, and you I, for one, have never felt the need for anything more than what the film provided to justify his desire to pick up where his grandfather left off. There are 2 numbers that go on terminally long and can benefit form big cuts. The first is when the Villagers attempt to snoop round the castle after the creature has been created, The Doctor, Igor and Inga try to steer them away and distract them from the inside moans of the creature; it needs about 2 verses and as many choruses cut, as well as the dance break. I got the point.
“Puttin' On The Ritz” suffers from a similar fate. It’s the highlight when it starts, the moment everyone is waiting for and one of the seminal brilliant scenes of film comedy, and it delivers... for a few minutes. Once the multiple tuxedoed, heavy-booted creature mask-wearing hoofers show up, it kills the momentum. It’s unnecessary, and it stops the show dead.
Most musicals do this however, which why I usually don’t like them. Yes, it’s a bit too long. I am sure they’ll make the cuts, (stupid not to) Foster will work on her accent, the rest will stop mugging after the gags, and it will tighten up. The fact, however, that it’s based on a Mel Brooks classic, and isn’t about a Blonde bimbo going to college, a kiddie fest based on animation, or a steam bath is absolutely vital. The settings of castles, foreboding woods, surgery, dirty jokes and songs about tits, and stepped-on brains emitting fart noises. The castle’s lab and all it’s loud electrical flashing, popping, exploding KISS-concert like glory underscores this and is balls out!
Straight guys like that shit, ok? Why? Cuz it’s COOL. Not Pink. BLACK, not Chihuahuas -WEREWOLVES. Not hairy man anal, trimmed (not shaved) female VAGINAL. With or without accent. Except of course, if it's your job.