Young Frankenstein
Playhouse Theatre
Mel Brooks' comedy film 'Young Frankenstein', a black and white parody spoof based on the 1930's horror movies directed by James Whale, became an instant classic on its release in 1974, its visual style and gags comedically recapturing the essence of a bygone cinematic age with what, at the time, was taken as a harmless sense of reverential fun.
Fifty years later and the world is a very different place - one where comedy accents can be construed as xenophobic, jokes about hunchbacks and blind hermits would be considered ableist, and bawdy innuendo has been mostly sanitised out of existence. And yet, at last night's opening night of Threshold Theatre Compny's production of the musical 'Young Frankenstein' we were bombarded with all three, in a non-stop barrage of questionable gags that had us shamelessly laughing out loud from start to finish.
The plot is familiar to anyone who has watched the Mel Brooks film. Dr Frederick Frankenstein (Joseph Betts) has inherited his grandfather's castle in Transylvania, and travels there to visit his estate. He leaves behind his fiancée Elizabeth (Rebecca Jillings), is met at the station by manservant Igor (James Bell) and laboratory assistant Inga (Emily Sidnell), and is introduced to housekeeeper Frau Blücher (Rowena Croston-Clegg). Before long, Dr Frankenstein has been persuaded to transplant a new brain into a recently disinterred body, thereby creating The Monster (Ben Woodward). The rest you know.
The entire cast enters fully into the 1930's spirit of Transylvania, wringing out each and every ounce of comedy in exactly the manner in which Brooks' intended. The gags and the accents replicate and spoof the spirit of both the film and the era, and are certainly not designed to create or cause offence. From the horse's screaming at the mere mention of FrauBlücher's name, to the slapstick movements of Igor's hunchback, this is all done, as Kenny Everitt would have put it, in the best possible taste. One of the most hilarious moments occurs during the classic scene where, parodying the original 'Bride of Frankenstein', blind hermit Harold (Zac Sowter) attempts to entertain The Monster in his cave, a scene performed with magnificent comedy timing, and some hilarious ad-libs.
And let us not forget the marvellous songs that run throughout this fun-filled version of 'Young Frankenstein'. FrauBlücher's 'He Was My Boyfriend' is a heartfelt lovesong to the late Professor, evocatively recapturing the atmosphere of 1920's Weimar cabaret. It is preceded in Act One by a generous helping of Carry-On smuttiness in the shape of Inga and Igor's 'Roll In The Hay' with Dr Frankenstein, and the first half concludes with Inspector Kemp (Leo Oakley) and the entire company in 'Welcome to Transylvania' and 'Transylvania Mania'. But the highlight of Act Two, and possibly of the whole show, is the hilarious and unforgettable routine where The Monster and Dr Frankenstein, complete with top hats and canes, re-work their routine of Irving Berlin's 'Puttin' On The Ritz', a choreographed comedy delight that expands to include the entire cast.
Even though this re-working of Mel Brook's musical script comes with its gamut of gags and songs already worked in, the enthusiastic cast and company from Norwich's prestigious Threshold Theatre succeed in making this show their own. Rising to the challenge of re-creating a re-imagining of such a much-loved and classic comedy, whilst firmly imposing their own sense of style and individuality, 'Young Frankenstein' is brought back to life with much energy and love.
