Displaying items by tag: mel brooks

“Young Frankenstein,” a live stage musical version of Mel Brooks hysterical 1974 comedy film, is an absolute hoot in its new production at Chicago’s intimate Mercury Theatre on Southport.

WIth priceless comic bits, great costumes, dancing, and singing that is notably excellent, “Young Frankenstein” is underpinned by a bullet-proof script adapted from the movie, which in my estimation is Mel Brooks’ funniest.

If you haven’t seen the film, then you will especially be in stitches in this spin-off of the classic 19th century Mary Shelley tale Frankenstein’s monster, a cadaver brought to life with disastrous consequences. Mel Brook’s version brings us the American grandson of Dr. Frankenstein (Sean Fortunato)—also a medical doctor—who travels to Transylvania on inheriting the castle and infamous laboratory that generated the original monster.

This musical at the Mercury (like Brooks’ film) spoofs the three 1930s Frankenstein films, with their overheated melodrama and exaggerated horror.

“Young Frankenstein” happens to be the Chicago premiere of a 2017 London version, revised from the Broadway musical of 2007. The recount of so many hilarious moments from the film are extended by the music and dance. The score is a satisfying pastiche of some classic showtunes. “There Is Nothing Like a Brain” for example, samples South Pacific's “There Is Nothing Like a Dame” In parts, with other musical motifs patched in too.

What is most astounding, though, is how good the singing, dancing, and musical performances are at this Mercury Theater production. Soprano Isabella Andrews, who plays Dr. Frankenstein’s voluptuous lab assistant Inga, brings an operetta-worthy voice; and likewise mezzo-soprano Lillian Castillo, who plays Dr. Frankenstein’s uptight fiance Elizabeth. And still they are as funny as all get out.

Also notable: bass-baritone Jonah D. Winston as Inspector Kemp, a Strangelovian character with a wooden arm, and leg, and flawless comic timing. (Winston’s 2021 performance was galvanizing in Theater Wit’s Mr. Burns.) Even the Monster (Andrew McNaughton), limited to howls and moans when faced with fire, turns out to have a remarkable voice, in a show-stopping number at the end.

Particularly entertaining are the roles of the housekeeper, Frau Blucher (Mary Robin Roth), and the hunchbacked Igor (Ryan Stajmiger), garnering incredible laughter with their many signature punchlines and bits. Even the wigs (Keith Ryan) deserve a nod. After all, the Bride of Frankenstein wig transformation for Elizabeth, following her tryst with the Monster, is a key visual punchline.

One tiny quibble: the special effects for The Monster’s lab transformation could use a bit more lightning bolts and smoke. Running through December 31, “Young Frankenstein” at Chicago’s Mercury Theater, 3745 N. Southport is a must-see event. But be warned: once may not be enough!

Like any Millennial, my playlists are quite eccentric. Firmly planted within the rotation of 90s rap, boy band battles, and classic oldies rests a plethora of show tunes; Hamilton, Wicked, Hairspray, and the occasional song from shows I've never seen. Give me a karaoke mic and Broadway song choices and I could go toe-to-toe with any musical theater savant. One bucket list item of mine has been to actually see the plays these ballads originate from. As my playlist pulled up the familiar "I Want to be a Producer" it was fate that the opportunity arose to see the play here in Chicagoland, The Producers.

The 2001 Tony Award­winner for Best Musical, adapted by Mel Brooks and Thomas Meehan from Brooks’ 1968 comedy film, follows Max Bialystock, the one time king of Broadway producers hungry to strike it rich, and Leo Bloom, an accountant with dreams of someday becoming a theater producer, as they discover that they could get richer by producing a flop than a hit and start by finding the worst show, worst director, and worst actors. When their new production, “Springtime for Hitler,” turns out to be a smash success, the plan is thrown off and the partners lives are thrown into chaos.

This classic production by one of the greatest comedy visionaries of our time, the incomparable Mel Brooks, still stands the test of time even though the satirical shock value are effectively muted on younger generations. It wasn't that younger audience members didn't know the Third Reich references, but like any satirical piece, it eventually begins to lose much of the context that allowed for the bite and tongue-in-cheek humor. What it might lack in context, The Producers still leverages clever 4th wall break with the actors and the audiencr, like when Steve McDonagh as Roger de Bris (as Hitler's understudy) joked with the modern audience about wearing Flippy floppies during his play-within-a-play monologue. And big bang musical numbers like "I Wanna Be a Producer," where Leo Bloom, played by David Heinously, sings about the drudgery of a boring office job and dreaming of something more, makes the play relevant and relatable regardless of your age. The cast were quick and witty, their delivery, interpretations, and full body acting made the play a competition for the show stealer. From Thomas M Shea as a Max Bialystok that rivals Nathan Lane, Kelsey MaxDonald as the sexy and aloof Ulla, Sam Nachison as the funniest pigeon not-so-former-Nazi Franz Liebkind, and the singular force of Eustace J Williams and Carmen Ghia, the friendly one-upping of the cast only enhanced the humor of this timeless play and brought modernity to the comedic gem.

While my trusty playlists have played every song from The Producers musical, I had never seen the play nor adapted movie. I sat somewhat self consciously with musical theater ifficiencados as they sat eagerly for their fifth or sixth viewing of the play. I braced for judgement but received an envied groan of "I wish I could see this for the first time again!" They urged me to expect nothing to be surprised for everything. From the minute the love orchestra tuned to the closing curtain I was entranced and in stitches throughout the play. It was fast paced, witty, with so much action humor the 2 hour run time flew by. I had to bite my lip to stop cackling as "Springtime for Hitler" played and bratwurst clad women danced across the stage like Vegas showgirls, all while an effeminate History heils himself with a bent wrist. Everyone in the audience of every age and creed were doubled over in laughter at some point in this production. Exceptionally cast with some of the best talent in Chicagoland, incredible tech and staging, and an agreed consensus from the musical theater crew that it was one of the best performances they'd seen in the 7th viewing; high praise from those audience members and this writer would concur.

In the days that passed, The Producers tracks have evaded my Pandora and Spotify playlists. When it eventually makes its revival, I'll now have detailed visuals of sequenced dresses, pigeon kissing Germans, walker bearing dancing grandmas, and jailhouse musicals. Don't get the references? Make your way to the northern burbs to see The Producers and text me your reaction when you see the bratwurst, I’d love to see that for the first time again.

The Producers A Mel Brooks Musical is now playing a limited engagement through August 20th in the Center Theatre at the North Shore Center for the Performing Arts in Skokie. Tickets are available at https://northshorecenter.org.