“The multi-talented Fraser imbues the character with just the right amount of dizziness and spice”
“I know what critics will say when Young Frankenstein opens in London” Mel Brooks said in a recent interview. “They’ll say – well, it’s good. But it’s not as great as The Producers was…” The reviews were mixed when it first ran on Broadway a decade ago, but one gets the feeling that Brooks doesn’t really give a damn. Yes, he has reworked and trimmed some of it since then, though this is probably more with an eye on the London audience and its sensibilities, rather than for the press. Bringing his musical adaptation of his cult film to the London stage looks set to be another triumph, not just theatrically, but also as another example of proving his detractors wrong. His career has flourished on the basis of ignoring all advice.
Some will say this show is outdated. But that’s the whole point. The original film was released in 1974 and was a spoof of the 1930s horror movies. To give it a contemporary feel would merely strip it of much of its character. Its charm lies in its bawdy double-entendres, and it is up to the audience to realise that the jokes are intended to fly in the face of all modern “…isms”.
The cast are clearly having the time of their life. Hadley Fraser excels as Frederick Frankenstein, Victor’s grandson – a New York Dean of Anatomy initially trying to disassociate himself from his heritage, until he learns he has inherited his grandfather’s castle in Transylvania. The multi-talented Fraser (wisely choosing to make the role his own instead of emulating Gene Wilder’s original) imbues the character with just the right amount of dizziness and spice. He relishes the opportunity to travel to Transylvania, not at all distressed at having to leave behind his prim fiancée Elizabeth, played by the sublimely voiced Diane Pilkington who has the wonderful task of belting out two of the show’s finer numbers Please Don’t Touch me and Deep Love. On his way Frederick meets his lust interest, the red-hot Inga (Summer Strallen, clearly in her element here), the loyal, hunchback servant Igor – Ross Noble in a commanding acting debut – and finally Lesley Joseph’s mysterious Frau Bülcher.
Mel Brooks, who also penned the music and the lyrics, is clearly a master of rhyme and his tongue-twisting verses are a pure joy; peppered with innuendo and gags. The highlight of the show, though, is Irving Berlin’s Puttin’ On The Ritz where Frederick and the Monster (the heart winning Shuler Hensley) recreate the absurdly hilarious scene from the film.
It is difficult not to see this as a labour of love for Brooks – a union between the two things he loves the most: film and musical theatre. Yet he effortlessly avoids the trap of self-indulgence, for it is abundantly clear that everyone will love his show. By his own admission, it is possible for the magic and glory of a musical to equal the power of the film. The insanely talented troupe of actors realise this ambition for him. Yes, the jokes are old, but the energy fizzes like lightning and this show is a much needed electric shock to the West End. A musical that cannot fail to put a smile on even the most hardened poker face.
Reviewed by Jonathan Evans
Photography by Manuel Harlan
YOUNG FRANKENSTEIN
is at The Garrick Theatre until 10th February 2018
At 350 years old, or thereabouts, Molière’s ‘The Miser’ arrives in the West End with a revival that surely the playwright himself would approve of.
‘Freely adapted’ by Sean Foley and Phil Porter, the original five act comedy is nicely condensed into a much more manageable two acts.
Griff Rhys Jones makes a welcome return to the stage in the title role (Harpagon), while Lee Mack makes his West End debut as Maître Jacques, The Miser’s cook, coachman, executioner and general dogsbody. Mathew Horne as Valère, Harpagon’s mistrusted employee, makes up the ‘names’ in the cast.
Remaining faithful(ish) to the original plot, and still set in the reign of Louis XIV – ( “the Arc de Triomphe isn’t built for another 150 years”) – there’s a modern spin on the dialogue with many a topical reference thrown in; zero hours contracts, Trump and Sport Direct all get a mention.
A lot of the humour is a tad puerile, for instance two characters afflicted with speech impediments lead to predictable, yet amusing, situations; Katy Wix as Elise has trouble with her Rs, so it’s a sure fire guarantee she’s going to have to say ‘rank’ at some stage. The spirit of Carry On lives on .. !
Katy Wix (most recently seen as Fergie on Channel 4’s The Windsors) was great fun to watch (even though at times she appeared to have morphed back into the Duchess!), as was the rather lispy Cléante (Ryan Gage) camping it up in some deeply garish outfits.
It was almost like watching one of those plays that Morecambe and Wise used to do, mixed up with a bit of the Two Ronnies – the ‘marry Marianne’ dialogue in the first act could quite easily have been a Barker and Corbett sketch.
The slapstick elements weren’t as sharp as they could have been and paled alongside the visual gags of the likes of The Play That Goes Wrong. Lee Mack was hugely entertaining, but at times it felt like you were watching one of his shows and his gags felt a little too stylised for the plot.
Altogether though, a joyous evening with jolly japes aplenty but bordering at times on panto – Oh no it wasn’t … Oh yes it was.
