Young Frankenstein, the new Mel Brooks musical based on the old Mel Brooks movie, is in previews on Broadway, and based on the success of The Producers, Brooks' previous movie-musical parlay, the show is likely to attract audiences for a long time to come. Two of Playboy's theater buffs, managing editor Jamie Malanowski and research director David Cohen, caught previews. Here are their thoughts:
JAMIE: Dave, I'll start. What did you think?
DAVE: Well, I left the Hilton Theatre loudly humming the $16 million sets but the funny thing is I can’t remember one song from the show. Despite this being a fully functional, yet slightly dumbed down, version of the beloved black-and-white horror-spoof film, the end result plays more like the sound of cash registers ringing in Mel Brooks’ mercenary mind than as a fully-integrated, forward-looking state-of-the-art musical. Frankenstein’s designers’ desire to shock-and-awe their customers into submission, means that mere human actors have a tough time fighting the special effects for the audience’s attention.
JAMIE: I think you’re right, although the show grew on me as it progressed. The show’s first two numbers—a short group performance by the residents of Transylvania, and then a very long patter number by young Dr. FRONK-en-SCHTEEN—are really underwhelming. I thought they started off the show with a yawn, which left me sitting there thinking too much about how much they adapted from the movie. It wasn’t until we meet the Doc’s sexy assistant Inge, played by Sutton Foster, that things get going. Her big number, "Roll in the Hay," is funny and sexy and imaginatively staged.DAVE: While most of the show went by in a heavily-electrified blur, I do think the supporting players gave fearless, terrific performances and seemed determined to claim these familiar roles as their own. Specifically I’m thinking of Andrea Martin’s Frau Blucher [“He Vas My Boyfriend” is a highlight] which is almost as tasty as Cloris Leachman’s original; Shuler Hensley’s Monster is another multifaceted characterization from this very versatile actor [Oklahoma!] and the divine Sutton Foster, [Thoroughly Modern Millie, The Drowsy Chaperone], a fabulous performer who can do it all, completes her Broadway apprenticeship and becomes a full-fledged triple-threat star here. Also eye-popping is Christopher Fitzgerald’s winsome take on Igor, the sassy-mouthed, deformed lab assistant.
JAMIE: Yes, I agree, Andrea Martin is priceless. But we seem to disagree about Megan Mullally, who I always adored when she was on Will and Grace, and who has the Madeline Kahn part here. I thought she was pretty boring in the first act, but it might have been the number she had to sing. But I really liked her second act numbers—her sexier numbers, I suppose it’s fair to say. You were less impressed, eh?
DAVE: Megan Mullally is a delicious talent – she sings, dances, is superb with a quip and possesses a defined personality that easily projects to the last row. BTW, she looks fabulous in William Ivey Long’s gorgeous costumes. I thought she was a little underutilized, especially in the first act, but when she had stage-worthy business to do [“Deep Love, ” a post-coital rumination on the Monster’s most notable attribute, hits all the right buttons] she gives a textbook demonstration of how to sell a song, the old-school way. She fares better than Roger Bart’s Dr. Frederick Frankenstein, I’m afraid. Despite the assistance from a large, and A-list, cast, this is the role that the show pivots on. Bart’s a distinctive supporting player [The Producers, You’re a Good Man, Charlie Brown] and this is his biggest opportunity yet to strut his leading man stuff. Unfortunately, he comes off a little brittle and shrill and lost onstage. Perhaps he’s overwhelmed by the physical production or intimidated by the supporting players, but the vacuum left in his wake seemed to me a metaphor for Brooks’ lack of real, creative inspiration. Perhaps next time Brooks will come up with something new rather than a mere recycling of some 30-plus year-old goods. But don’t count on it: YF ends with the promise [threat?] of a stage-bound Blazing Saddles for the upcoming season.
JAMIE: One thing for sure—the "Puttin’ On The Ritz’’ number in the second act was terrific. That Irving Berlin kid—he’s got a future!
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