There are few comedians from the 20th century who was more beloved than Mel Brooks. Whether on stage with his witty banter or in cinema with his masterful satire, he has proven that he knows how to make people laugh. Following his EGOT-molding turn to Broadway with The Producers, he had a thankless task above him. If he wanted, he would have to adapt another of his beloved films to the stage. His target ended up being Young Frankenstein, a musical that mixed low-brow humor with the Mary Shelley horror of the 1974 film. The results were not as beloved, but definitely make for a fun afternoon of carefree theater.
For those wanting to see the hits play out on a stage (“what hump?”), then La Mirada Theater was a great place to be recently. The production featured everything a fan could want, even an extended “Puttin’ On the Ritz” montage that felt directly lifted from the Broadway Melody series of the 1930s. The comedy comes fast, often featuring peppy song and dance with jokes old and new fusing together to form the story of Dr. Frederick Frankenstein (A.J. Holmes) – pronounced fronk-en-steen – as he goes from shamed offspring of a notorious scientist to the slightly more accepted resident of the village. Sure, it comes with certain chaos caused by a seven foot Monster (Trent Mills), but it all works to create the b-movie sci-fi undertones of the exaggerated, cartoonish settings full of trip-wire electronics and easily breakable chairs.
Certain set pieces may just be extensions of the film, but the actors have so much fun that it reflects the original routine’s versatility. Moments like a revolving bookcase that hurts Frankenstein land especially well thanks to the practicality of the stagecraft. Those wanting a show light on the actual plot but high on slapstick will be rewarded nicely for their time, especially as the stage is filled with great visual gags and abrupt entrances through smashed walls. Everything is absurd, creating a manic pacing that favors getting to the next joke. The new material may be hit and miss for those who don’t like juvenile sex jokes, but the cast makes them land with the typical Brooks zippiness.
If there’s any aspect of the show that might be disappointing, it’s the new songs. While Young Frankenstein does a great job of highlighting what made the film timeless, the new songs aren’t exactly as memorable or cutting edge as The Producers. Numbers like “Roll in the Hay” are a tedious and elaborate series of euphemisms that grow stale by the third minute. Others like “Please Don’t Touch Me” start with a simple premise of distant lovers but ends with a series of underwhelming jokes about touching breasts. Brooks was definitely going for a naughtier thesis this time around, and one’s tolerance for jokes about anatomy will determine the mileage of most songs. With that said, it’s disappointing that none of them capture the brilliance of the opening number of “The Brain,” which manages to cleverly rhyme the different parts of the noggin with the charm of Tom Lehrer. Even with the familiar low-brow jokes, the underlying sense of intellect carries it to levels the rest of the songs can’t. Most of them are simply dumb, for better or worse.
With that said, the show is a fun romp for what it is. Holmes gives the role of Frankenstein the necessary neurotic insecurity to make the ensemble work very well. Credit should also go to Mills, who if nothing else uses his height to full advantage throughout the performance while towering over every supporting actor. Igor (Wesley Slade) adds a nice comedic antagonism as he undermines his master’s requests and lays out the problems with old horror tropes. As a team, they know how to let a joke last for as long as necessary, allowing the audience to laugh and catch their breath. Also in the cast is Sally Struthers as Frau Blucher, whose thick-accented character allows for a female twist on the demented fervor on display.
Even if Young Frankenstein may not be the most innovative show that Broadway has ever seen, there’s a lot of reasons that one should consider checking it out. For those who love the film, there’s enough DNA on display to keep one entertained. The new material may be hit and miss, but the physical comedy lands more often than not and helps to add a nice addition to the horror comedy musical genre. It’s a show that doesn’t take itself too seriously, allowing it to revel in b-movie ridiculousness. The La Mirada Production especially has great use of sets that are full of their own mysteries and allow for gags to land with a surprising force. It’s a silly show that doesn’t achieve a whole lot, but sometimes that’s enough for a night out at the theater.
Comments
Post a Comment