'Young Frankenstein' review: The Croswell puts on the Ritz in hilarious musical adaptation

Courtesy of The Croswell

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The comic wit and genius of Mel Brooks are alive and well in the musical adaptation of his 1974 classic “Young Frankenstein,” which just opened at The Croswell Opera House. Much like the movie, which played with visual and running gags at a breakneck pace, the show—featuring a book by Brooks (who also wrote the music and lyrics) and Thomas Meehan—packs the same type of satirical wallop from the opening number, reminding audiences why they loved the film in the first place. While it’s not strictly necessary to have seen the film to appreciate the Croswell’s inventive production (though you should), that background knowledge enhances the experience at pivotal moments throughout the show. If anything, it’ll make you want to run home and watch the film again. It’s a wonderful companion piece.

This production is also a perfect marriage of material and director, as Croswell staple Mark DiPietro feels right at home with the humor, various comedic bits, and disciplined staging that a show of Brooks' caliber requires. It might look easy on the surface, but executing the type of dialogue and double entendres casually peppered throughout the script in a live setting, as opposed to a cinematic medium, is a tightrope act. If any of the actors falter, it risks stifling the show’s momentum.

It’s evident that DiPietro has found the right crew to anchor the ship. For example, on opening night, the show was interrupted by a rogue fire alarm as the actors sat on stage. In that moment, the performers maintained their intensity and composure; when the show was ready to resume, it was as if they had never stopped. This speaks to the professionalism and focus of everyone on stage.

The story mirrors the film and is about how you remember it. Dr. Frederick Frankenstein (pronounced “Fronkensteen”), played with ragtag comedic timing and energy by the wonderful Steven Antalek, has just inherited his grandfather’s castle, complete with its nooks, crannies, and, uh, Swedish lab assistants. He initially resists entering the family business (despite his ancestors passionately pleading with him in one of the musical’s lively tunes) but eventually finds himself drawn into a mysterious experiment. 

Working alongside the gorgeous Inga (Payton Miller, who boasts both a wonderful stage presence and impressive yodeling skills), his loyal servant Igor (Jordan Treger—who skillfully creates his own identity while paying homage to the great Marty Feldman), and the mysterious Frau Blücher (Laura Sagolla, hilarious in her many deadpan deliveries), whose very name causes horses to shriek, Frederick becomes obsessed with reanimating dead tissue and creating a large monster with the brain of a scholar. 

Meanwhile, Inspector Hans Kemp (Matthew Herr, wonderful) warns the villagers of Transylvania that a Frankenstein has returned, putting everyone on alert for what shenanigans he may cook up. This setup leads to all sorts of hilarious hijinks and chaos, especially during the Act One finale “Transylvania Mania,” where Igor, Frederick, and Inga must convince the townsfolk that their creation isn’t harmful. It’s one of several major sequences in this show where the actors strike the perfect balance of comedic ingenuity without overdoing it.

They excel at making throwaway bits and sight gags far funnier than they have any right to be, contributing to the overall sense of whimsical joy that a show like this can foster. Rounding out this stellar cast is Micah Risher as The Monster, who navigates the stage and interacts with various characters, including the blind Hermit (played by a game Steve Hillard) and Frederick’s fiancée, Elizabeth Benning. 

As Benning, Kyrie Crist delivers a scene-stealing portrayal, triumphantly making her Croswell return after a brief hiatus and showcasing her strong vocal chops in one of the show’s most memorable and hilarious numbers, “Please Don’t Touch Me,” which sees the actress singing—er, belting—about a certain part of the upper female anatomy.

Of course, no show adapted from “Young Frankenstein” would be complete without “Puttin’ On the Ritz.” Choreographer Sarah Nowak doesn’t pull any punches, enlisting a rock-steady dance ensemble to provide Croswell patrons with an unforgettable musical interlude that’s as captivating and entertaining as any number the theater has mounted this season. As the kids say, they have the “ritzz.” Or is it rizz? I can’t remember.

Raymond Novak and Wynne Marsh make a great conductor and vocal director duo; everyone sounds terrific, although they were sometimes drowned out by a blatant sound issue that caused one of the lead’s mics to give continuous feedback, occasionally pulling me out of the show. However, the sound crew was able to regain control of the situation, and I doubt this will be much of an issue going forward.

While the music might not be particularly memorable aside from the now-classic songs we all know and appreciate, the characters and the laughs certainly are. The talent assembled for this production is yet another reminder of how fortunate we are to have access to quality live theater. If you’re looking for something fun and want to tap into the spooky season, “Young Frankenstein” has just about everything you could need: laughs, peril, and some pretty big knockers.

The Croswell’s production of YOUNG FRANKENSTEIN continues through Sunday, October 27th. Tickets can be purchased at Croswell.org.