November 19, 2007

'Young Frank' review: Money doesn’t buy you laughs

NewYorkology contributor Alexandra Farkas weighs in today with her review of "Young Frankenstein," one of only eight shows not shut down by the Broadway strike. Farkas has directed Off-Off-Broadway productions of classic and contemporary plays and will be directing the New York premiere of John Fleming's "The Two Lives of Napoleon Beazley" at the Clemente Soto Velez Cultural Center on the Lower East Side in February. Her review:

Here’s the thing about “The New Mel Brooks Musical Young Frankenstein”-- like its name, it’s trying too hard. From the over-the-top sets, which make it easy to see where the producers spent the purported $16 million-plus, to Roger Bart’s high-pitched, zany take on Frederick Frankenstein to the constant barrage of songs that feel remarkably similar, it feels like Brooks and his collaborators decided that BIG was the order of the day and didn’t bother to find the subtle moments that make all the difference.

Comparing the show to the movie is inevitable, and this is one of those cases where you won’t be able to argue with Uncle Joe when he grumbles, “the original was better.” Not to harp on Bart too much, but when you remember what Gene Wilder did with his quiet, underplayed mania, you’ll have a hard time watching Bart screech and mug his way through the evening. He can certainly sing and dance and is clearly talented, but this is not the part for him. And while most other reviewers seem to think Sutton Foster is a dream, and the audience I was with practically gave her a standing ovation at her first appearance on stage, I was left with the distinct impression that she is neither bawdy nor dry enough to pull off the Inga who permanently entices Frankenstein’s eyes (and other body parts) away from his untouchable fiancée Elizabeth.

That said, you will be able to laugh at all the lines you loved in the movie, because they’re all there. And there are certain things that transfer beautifully to the stage. Perhaps most obvious one is the “Puttin’ On the Ritz” number that Frankenstein and the Monster put on. Shuler Hensley is wonderful as the Monster. He is seriously underused, but shines in every moment on stage. The director and choreographer Susan Stroman pulled out all the stops for the number and it is by far the night’s most entertaining. Show girls get to be showgirls, there’s tapping and singing and everyone looks great. It’s thoroughly enjoyable.

Other good moments include Megan Mullally, who has the dual challenge of making you forget her eight-year stint as the hilarious Karen Walker on “Will & Grace” and Madeleine Kahn’s iconic on-screen interpretation of Elizabeth. She manages to overcome both easily. I found myself wondering how it happens that in a Broadway star-studded production like this one that it’s the TV actress who manages to connect with the audience best. No disrespect to television actors, but theirs is generally a very different challenge.

A small side note concerning Mullally: William Ivey Long, who I long considered an idol for the magical things he can do with a costume, somehow forgot to pay attention to Ms. Mullally. Her costumes, particularly in the first act, are ill-fitting and unflattering, which given that she’s supposed to be the glamour puss character is truly unfortunate.

Andrea Martin as Frau Blucher (“neighhhhh!”) is also great fun. She is one of those rare comedic talents who could probably get laughs by just standing there. The fact that she gets to vamp around as the ghoulish housekeeper makes it all the more fun.

All in all however, if you are a die-hard Mel Brooks fan and have a few hundred dollars to blow, you could go see “Young Frankenstein,” or you could rent the movie and go see something else instead.

Earlier: 'Young Frank' exempt from strike, starts previews
Lottery for $25 front-row 'Young Frankenstein' tickets
'Young Frankenstein' in pre-sale with $120/orchestra

November 19, 2007 03:49 PM in Broadway

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