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Young Frankenstein
Reviewed by Neal Weaver
Doma Theatre Company at the Met
Through November 16
RECOMMENDED:
This Mel Brooks musical, adapted from the film by Brooks and Gene Wilder, somehow manages to be both a send-up and homage to Mary Shelley’s original novel, Frankenstein, or The Modern Prometheus, and James Whale’s 1931 movie Frankenstein and its 1935 sequel Bride of Frankenstein.
In Brooks’ rendition, the central figure is Dr. Frederick Frankenstein (John David Wallis), grandson of Victor von Frankenstein who created the infamous Frankenstein Monster. Frederick, however, disapproves of his ancestor’s scientific shenanigans, and insists that his name be pronounced Frankensteen. But when he receives word that Victor has died, and has named him the heir to Castle Frankenstein, he sets off for Transylvania to claim his inheritance.
Once there, he encounters the hunch-back Igor (Scott Seiffert), grandson of the Igor who assisted Victor in creating the first monster. He also meets Inga (Susan Huckle), the saucy soubrette who will become his laboratory assistant. They take him to the castle, where he runs into the sinister Frau Blucher (Michelle Holmes), Victor’s old housekeeper, whose very name is enough to terrify the local horses.
Once he’s installed in the castle, Frederick is visited by the ghost of grandpa Victor, who encourages him to join the family business, and create a Monster of his own. And when he stumbles on Victor’s elaborate laboratory, with all its exotic instruments, the temptation is too great.
He does indeed create a new Monster (Hector S. Quintana), albeit a gentler one, who’s more sinned against than sinning. True, he does ravish Frederick’s frivolous fiancée Elizabeth (Toni Smith), but it turns out she likes being ravished.
As we might expect from Mel Brooks, the musical is cheerfully vulgar, amiably bawdy, resolutely raunchy and shamelessly politically incorrect. The Doma Theatre production can’t compete with Brooks’ original for star power, but they have assembled an exuberant and skillful crew of actors.
Wallis is a rather frazzled Frederick, but gains in purpose as the action unfolds. Seiffert’s Igor is manic, and Huckle’s Inga is slick and stylish, with an unexpected talent for yodelling. Holmes’ Frau Blucher is lecherous as well as sinister, reminding us that Victor was her boyfriend, but she also has an eye (and a grope) for the ladies. But it’s Quintana’s Monster who steals the show, as a bumblingly likable critter, eternally perplexed by the ill-treatment he receives. And his duet with Frederick, of Irving Berlin’s “Puttin’ On the Ritz” is a high point, as it was in the movie.
Director Marco Gomez keeps things moving with the speed and drive of a freight-train, Chris Raymond’s musical direction is impeccable, and Angela Todaro’s choreography shows its enthusiasm and frenzy in “Transylvania Mania.” John Iacovelli’s lavish, Caligari-ish sets, Jean-Yves Tessier’s lighting design, and Brandy Jacobs’s costumes all contribute handsomely to the mock horror-show ambience.
Doma Theatre Company at The Met Theatre, 1089 North Oxford Avenue, Hlywd.; Fri.-Sat., 8 p.m.; Sun., 3 p.m.; thru Nov. 16. (323) 802-9181, www.domatheatre.com
