Young Frankenstein (Stagebugs Productions), at Theatre Works
It is so silly, so over the top and so funny. If slapstick and physical humour are your bent, this has it in spades.
Nineteen years after the outrageous Mel Brooks musical comedy opened on Broadway, Young Frankenstein comes to St Kilda’s Theatre Works.
It is based on Brooks’ and Gene Wilder’s 1974 film that Brooks directed, with a surfeit of melodic musical numbers that continue to resonate strongly.
Set in 1934, the story is that of a scientist by the name of Frederick Frankenstein (pronounced Fronk-en-steen), the Dean of Anatomy at a prestigious US university.
Engaged to Elizabeth Benning, he teaches his students about the brain when he learns of the death of his grandfather, a mad scientist in Transylvania.
Frederick doesn’t have a lot of time for his late grandpa, Dr Victor von Frankenstein, and resolves to fly in and out, and settle the estate quick smart.
But that is not how things work out.
He is met by his grandfather’s lab assistant, the hunchback Igor (pronounced Eye-gore), who tries to convince Frederick to follow in Victor’s footsteps.
To that end, Igor has already engaged the services of a pretty blonde named Inga.
Also keeping a keen eye on Frederick’s granddad’s legacy is housekeeper Frau Blucher, who was, in fact, more than Victor’s housekeeper.
Now, the mere pronunciation of her name frightens the horses (literally).
After reviewing his grandfather’s notes in Victor’s lab, Frederick decides to carry on his experiments in reanimating the dead.
All it will take is a large corpse, a scholar’s brain and some high voltage.
What could possibly go wrong?
Well … plenty, as a creature, known as The Monster, comes alive … and mayhem ensues.
So too, a hot and heavy affair with the attractive Inga.
What a riot of a show, full of campy innuendo and big, bold characters, staged and performed so, so well by Stagebugs.
Forget political correctness. Quite rightly, Young Frankenstein draws laughs aplenty.
First up, and most important to say, these guys and gals can sing – well.
They know how to hold a tune, which is great, because I love the score. Musical director Geoff Scarlett has done a fine job.
Josh Direen makes for a delightfully expressive Frederick Frankenstein. I greatly appreciated what he brought to the character.
Alex Glenk is such a respectful and doting Igor.
Juliet Nicolson smoulders as Inga.
Joti van Carlos Gore is unforgettable as The Monster, who makes his presence felt.
Belinda Jenkin’s somewhat unhinged intensity as Frau Blucher is superb.
Shannon Foley, who doubles as Inspector Kemp and Harold the Hermit provides one of the many high points of the show when singing for support. That scene is made all the stronger as he takes his cue from regular whistles.
His subsequent interaction with The Monster isn’t half bad either.
And then there is the indefatigable and enthusiastic Britni Leslie, who somehow manages to keep herself within her top – no mean feat that! (I told you this show wasn’t politically correct.)
They, plus the lively ensemble, ensure this will be a night of theatre to remember.
Of course, the script and music are only part of the challenge.
There is quite a deal of movement required, including a memorable tap-dancing number. Claire Robinson’s choreography is splendid.
Talking of movement, the multi-tier set design by Damien Jones is clever, but requires some adroit navigation, which is again handled well.
As for the props – what a hoot! Brilliant stuff. A small branch and a tiny Christmas tree are but starters, let alone a couple of horse head masks.
In fact, there is a great deal of creativity that goes into making this show as good as it is.
That includes colourful lighting from Jason Bovaird, evocative sound design by Tomas Stroade and scenic artistry by Lokan Woerz.
The costuming, hair and wig design by Britni Leslie add further welcome layers of excess, as does the make-up by Sienna Coffa.
I couldn’t get the Monster’s look out of my head long after exiting the theatre.
Director Christian Cavallo is to be heartily congratulated for crafting such a thoroughly enjoyable romp.
On at Theatre Works until 24th October, 2026, Young Frankenstein deserves to be seen by a wide audience that appreciates energetic and manic musical theatre.
It has a running time of two hours 40 minutes, including interval.
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