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Regional Reviews: San Francisco Young Frankenstein Also see Richard's review of Tribes
In brief, Dr. Frederick Frankenstein—that's Fronk-en-steen—(Steven Ennis) must leave fiancée Elizabeth (Lindsay Stark) in New York City and travel to Transylvania to claim his inheritance after his famous grandfather Viktor has died. But surprises await him, including a lab assistant named Igor—that's Eye-gore—(Joey McDaniel), whose expertise is questionable, another named Inga (Jessica Whittemore), whose assets are rather more apparent, and a castle-keeper named Frau Blucher (Linda Piccone), whose name inspires a reaction from horses. Throw in local constable Kemp (George Mauro), out to eradicate Frankensteins from the region, and a slew of clueless villagers, and it's a recipe for a lot of fun. Of course Freddy must be persuaded to take up his family "business," the creation of new life from corpses, and once he does, we witness the birth of a new Monster (Michael D. Reed). Frankenstein must show the Monster's value to science before Kemp and the villagers can destroy him-- like, make him tap dance. The musical, like the film, takes a bit too long to find its resolution, but no one really cares when there's so much wackiness to enjoy. Brilliant casting makes the show sparkle with wit and musicality. Ennis strikes just the right balance between serious and seriously nuts, showing great comic skills and a strong voice. His love interests, Stark as Elizabeth and Whittemore as Inga, are superbly matched to their roles, both extremely funny and boasting marvelous vocals. Piccone seems born to play Blucher, deadpanning her expressions and mannerisms to delightful effect; her solo turn in "He Vas My Boyfriend" nearly brings the house down. Then there's McDaniel as Igor, the man with the moving hump and roving eyes, whose physicality—singing and dancing and prancing and lurking and leaping—is truly a sight to behold. Reed holds his own as the seven-foot Monster, growling and lurching with evil glee until the penultimate scene, when he gets to show even more talent. Mauro is great as Kemp, but really shines when he becomes the blind Hermit in the iconic scene Brooks has turned on its head. Most of the time Mauro is herding the happy, or hapless, villagers, a tremendously talented ensemble dancing their way through every turn of events. The spectacular set by Kuo-Hao Lo turns the Stern stage into several castle interiors, different village locales, a med school lecture hall, a ship's pier, a beer hall, a gallows, and more with agility and minimal time between scenes. It exceeds expectations with the gadgets and gizmos in the doctor's lab, including the table that lifts to the rafters. Shannon Maxham's costumes are inspired silliness and wonderful character definition (love those villagers' shorts). Lighting design by Carolyn Foot mostly works, but sometimes leaves characters oddly in the dark; that may have been an opening weekend issue with follow spots and hopefully will improve. Properties designer Pat Tyler has a field day with period oddities and scenic touches. Choreographer Jennifer Gorgulho deserves special mention for her spirited realization of each number, often delivering humorous action as well. Kudos to director Patrick Klein for pulling it all together with his excellent team and cast. Whether you remember the Brooks film or not, whether you know the original Frankenstein or not—even if you don't really like musicals, you should see this show, just for the sheer enjoyment and merriment of it all. Young Frankenstein by Mel Brooks and Thomas Meehan, presented by Palo Alto Players at Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto, through May 11. Tickets $23-45, available at 650-329-0891 or at www.paplayers.org.
- Jeanie K. Smith |
