Peter Austin (monster), James McCaffery (Frankenstein), Sarah Ericksen (Frau Blucher) and Robyn O'Hagan (Inga). Photo/Supplied
Peter Austin (monster), James McCaffery (Frankenstein), Sarah Ericksen (Frau Blucher) and Robyn O'Hagan (Inga). Photo/Supplied
After the success of his musical The Producers, based on Mel Brooks' earlier film, it was only natural that Brooks would choose to create another musical based on another of his successful films, the 1974 hit comedy Young Frankenstein.
Assisted by writer Thomas Meehan, this adult-themed story of a doctorfinding his heart along with many other body pieces has become experienced director Sylvia Richardson's latest artistic challenge.
James McCaffrey as Dr Frankenstein through strong singing and dancing has managed to do what few actors in this role achieve: banish the blandness of Brooks' character. However, he should be mindful to keep his lines clear as he raises his voice.
Igor the loyal assistant, well played by audience favourite Chris Atkinson, was maybe a bit too lovable to be scary but this was offset by Sarah Erickson as the sinister housekeeper Frau Blucher, whose name struck terror even into the horses.
Her exaggerated movement and facial expressions were skilfully made and this allowed Peter Austin as the monster to follow her lead and show his character's human qualities, along with some inspired tap dancing.
Robyn O'Hagan as Inga, the doctor's assistant, had the hard job of being a typical Brooksian sexpot. These roles are hard to play but her use of yodelling as foreplay was a show highlight.
Samantha Grant Smith as Elisabeth, the doctor's highly strung fiancee, sang strongly and certainly knows how to work her audience.
Nominated for three Tony awards but found undeserving, Brooks has struggled to translate the film's 1930s black-and-white effect on to the stage, although this production set is excellent, and instead had to rely on jokes that at times stop being clever and move into smuttiness. Richardson has done a grand job to project some freshness into this production but has been assisted by a talented cast of "kooky characters" whose timing and facial expressions were spot on, while choreographer Nathen Wright gave a nice flow to the ensemble.
Musical director Paul has had to deal with songs that give the appearance of being thrown together, although his interpretation of He Vas My Boyfriend showcases his own talent and gives a glimpse of Brooks' comic genius. While this show is two hours long, it is worth the wait to see the famous Monster Mash version of Irving Berlin's Puttin' on the Ritz and, if nothing else, as you leave you will at least have the feeling of seeing "a monster of a musical".
Young Frankenstein, Tabard Theatre, Ahuriri, April 3 to April 19
