I was thrilled to be in audience of Lyric Art’s production of Young Frankenstein this opening weekend for a number of reasons. One: Lyric Arts is awesome, Two: Young Frankenstein is awesome, and Three: I was sharing the evening with my 13-year-old stepson Quinn, who has yet to experience the mad genius of Mel Brooks, Gene Wilder OR Lyric Arts, for that matter (outside of a workshop or two) and I was looking forward to watching his reaction to the show.
Young Frankenstein may be the perfect show to bring young person with a great sense of humor to. While the jokes were crammed full of innuendo, of course, it was so fun to not only get a kick out them myself, but watch Quinn laugh along too. It’s a testament to the writing of Gene Wilder holding up all these years (Young Frankenstein was originally produced in 1974!) that a glued-to-his-Smartphone teenager could laugh at Roll is Ze Hay, among others, but it’s also a testament to Lyric Arts creative and technical team as well. There wasn’t a dull moment. From the opening scene of the villagers merrily dancing in front of Victor Frankenstein’s castle in Transylvania to the absolutely show-stopping Puttin’ on the Ritz number, Lyric Arts truly knocked it out of the spooky graveyard with this production.
Having just seen the majority of the cast in Rent this summer at Lyric Arts, it was truly impressive to see these actors totally disappear into their roles in Young Frankenstein. I didn’t see an ounce of Mark from Rent from Kyler Chase as he portrayed Fredrick Frankenstein, and his eyebrows may have well leapt off his face and become characters of their own. In fact, as I was watching the show, I heard an audience member behind me whisper “he even sounds like Gene Wilder.” High praise, indeed. Nykeigh Larson as Inga and Brendan Veerman as Igor (who I adored in Barefoot in the Park) were also highlights for me. But, the show was completely stolen when our Monster came to life in the form of Tom Goerger-who was not only amazing and hilarious, but also a dead ringer for Peter Boyle.
In nearly every review I write for Lyric Arts, I can’t help but praise the set design. And, again, the Young Frankenstein set was spectacular. The castle and hidden passageways, the cottage the set must be for a brief, hysterical scene, among other transitions-the grace and technical skill it takes to make these set changes so flawlessly and clever are beyond reproach.
Recalling Young Frankenstein as I am writing this, I am seeing the show in black and white. Trust me, it was full color when I saw it, and my vision is just fine, but I find it interesting that black and white, like the original film, is how I am seeing Lyric Arts production in my mind’s eye. It may be a trick of my subconscious, but I think it is further proof that the stage production is on par with the classic movie it is based on. Not that the Lyric Arts production of Young Frankenstein is a scene-for-scene re-enactment of the film, it truly is its own wonderful entity unto itself, but if you are going to be compared to a movie, let it be a Mel Brooks movie.
The audience couldn’t have asked for a better Halloween-season show from Lyric Arts, and I was so pleased to share the experience with Quinn, and help foster a new generation Young Frankenstein (and theater, and satire) fans.