You can’t argue with a centenarian’s secret of longevity. Especially if that 100-year-old happens to be America’s beloved (and still active), universally acclaimed comedian/actor/playwright/filmmaker and songwriter, comedy icon Mel Brooks. Brooks says his secret to a long and happy life is to “Keep laughing.” He’s fanatic about giving audiences lots to laugh about at his shows … and we’re forever grateful!
The Wick Theatre of Boca Raton – that’s fast becoming a local legend of its own for high quality, highly entertaining, big-stage productions – made the perfect Halloween-month decision to open their “Lucky Season 13” with Brooks’ riveting and hilarious horror-film parody, YOUNG FRANKENSTEIN. Yes, based on the 1974 hit film written by Mel Brooks and Gene Wilder that went on to become a Broadway musical sensation in 2007, running for over 485 performances.
But then Brooks decided it could be even better. He revised and tightened the show, added two new songs, and gave it more of that old-time, vaudeville flair that completely captivated audiences when introduced at London’s West End in 2017. This West End version is the one Wick’s master director Norb Joerder is proud to present (with book by Mel Brooks & Thomas Meehan and original direction & choreography by Susan Stroman). But don’t worry, you’ll still hear many favorite one-liners from the film. Only now perhaps accentuated by full-production musical numbers or as part of an impressive song … all perfectly executed by star music director Bobby Peaco.
front and center: Frederick (Aaron Atkinson), Inga (Katie DeRosa-Tango), Frau
Blucher (Britte Hammeke), Igor (Corey Vega). The Monster (Thomas Porat)
looms in back. Photo by Amy Pasquantonio.
When managing executive producer Marilynn Wick greeted us and introduced the show, she made a point of thanking her tech team. (Be ready for some wild and sizzling special effects! All thanks to the creative efforts of Justin Thompson sound design, projection designers Kacey Koploff & Josieu Jean and lighting design by Alex Worthley.) Marilynn also spoke about how she can’t wait to welcome back patrons and show them what happens when this story, one that “has everything our audiences love – from big laughs to big production numbers to a cast that brings all the electric energy … gets the full Wick treatment.”
To set the mood, both acts open with the appearance of a monstrous, shaggy werewolf of sorts in front of the curtain, backed by eerie howls. When the first curtain rises, we meet young Frederick Frankenstein (grandson of Transyvania’s mad scientist Victor Frankenstein, creator of The Monster). Our opening scene presents distinguished Doctor Frederick at John Hopkins School of Medicine lecturing a group of white lab-coated students on the wonders of the brain, soon breaking into “The Brain” song. With this hilarious, fast-moving number, I was immediately struck by the vocal agility and talent of show star Aaron Atkinson’s exciting portrayal of Frederick. Atkinson’s energy and emotional range (both musically and dramatically) only grow more impressive throughout the performance.
We also get an inkling that despite his protestations about being nothing like his infamous grandfather (to the point of insisting everyone pronounce his surname as “Franken-steen” not “stine”), we immediately see some inherited callousness in how he treats a young med student who dares to question him by volunteering poor Felix (a fine, comic performance by Charles Page) for a painful neurological demonstration.
We have no problem laughing at Frederick’s ridiculously spoiled fiancée, Elizabeth, as they say goodbye when he’s suddenly called away to inherit his deceased grandfather’s Transylvania estate. Poor Frederick can’t even get a single hug because it might mess up Elizabeth’s perfect hair, her nails, her dress. Leah Sessa’s comedic turn in “Please Don’t Touch Me,” naturally sung to perfection alongside Frederick and the fabulous Ensemble, left me wanting more. Happily, I would be richly rewarded in Act Two when Sessa’s famously rich vocals are on full display! Especially in “Deep Love” which, by itself, was worth turning the original campy movie into a full musical. It’s one number you’ll never forget!
Pasquantonio.
Frederick is met at the station by hunchbacked Igor (grandson of the deceased Frankenstein’s original servant, insanely well-enacted with cringy humor by Corey Vega). Igor expresses his delight at being reunited with his “master” in what turns into a strange duet (with Frederick), “Together Again for the First Time.” But like Beauty and the Beast, Igor brings along lovely local lass Inga (a proficient yodeler with a perfunctory degree in laboratory science) to serve as his master’s lab assistant. Katie DeRosa-Tango literally falls into her role of a simple-and-innocent but also sexually solicitous young lady who is instantly smitten by Frederick and isn’t shy about showing it. There’s more than innuendo going on in their “Roll in the Hay” wagon-ride number as Igor drives horses Bonnie & Clyde back to the Frankenstein castle.
There Frederick and company are greeted by longtime resident housekeeper, Frau Blucher, formidably portrayed by popular local actor and vocalist Britte Hammeke. When Frederick and Inga attempt to find the source of a mysterious melody (lots of silly spins and misdirection which spoof the cliché of a revolving bookcase “door” leading to a secret passageway), they discover Victor Frankenstein’s original basement laboratory along with a book of his notes on how to bring a corpse back to life. And the eerie music? None other than Frau Blucher on violin, playing a melody Frederick’s grandfather created to attract and soothe the savage beast.
But for us, Blucher’s greatest attraction lies in Britte Hammeke’s powerful rendition of “He Vas My Boyfriend” where the housekeeper proudly confesses that despite the age difference and her employer’s complete lack of commitment, she remained faithfully his for life.
Another one who is suddenly smitten by Victor Frankenstein’s legacy – to his cohorts’ extreme delight – is young Master Frederick who decides to redeem his family name by recreating the experiment using a seven-foot-tall corpse but, this time, making sure the creature receives a superior brain. He sends Igor off to the National Brain Suppository … oops! new lowered sign reads “Depository”… to pick up the brain of a brilliant scientist. But Igor’s fingers fumble, and he drops the jar with the good brain, smashing its contents. So, he grabs the next one he sees, belonging to someone called “A B Normal.” At first the electrocuted corpse appears dead, and they assume the experiment was a failure. But suddenly: “It’s alive!” And off on a rampage, while Frederick is livid at Igor for bringing him not an Abby Normal brain but an abnormal one.
Taking no chances, strict and properly vicious Inspector Kemp, played with colorful authoritarian zeal by Shane Tanner, leads the townsfolk in the hunt to “Hang Him Til He’s Dead.” Followed by “Welcome to Transylvania” with a Male Quartet through which he attempts to lure Frederick to face a similar fate as his monster creation! Bringing out the torches and pitchforks in “He’s loose.”
In a sad but still humorous vignette, Shane Tanner also appears as a lonely, long white bearded, blind Hermit whose plaintive solo begs God to “Please Send Me Someone” for company. When the runaway Monster appears at his door, his hosting (aka hot-soup-spilling and cigar lighting) skills are, to say the least, dangerously inept.
Meanwhile, Frederick feels a father’s guilt for his creation’s deficiencies and decides to love bomb him by insisting that he’s handsome and a fine young man, even cradling him on his lap. Thomas Porat (actually a very good-looking young man) exhibits monstrous talent in bringing the green Monster to life as a lot more than a vicious, angry, brute, but rather also as a sentient, sad, misunderstood being with sensitive feelings who ultimately discovers what makes him special. And goes on to prove that any man can become his best self through the love of a woman. (Do keep in mind this is a 1930’s randy comedy – not to be judged by today’s standards.)
But first his maker puts on a show to demonstrate that his “Monster” can perform as a civilized member of society by joining him onstage in that most famous and widely circulated top-hat-and-tails number featuring Irving Berlin’s “Puttin’ on the Ritz.” There’s also a complete Company chorus line of top-hat-and-tails attired tap dancers, with the green Monster dancing in back, and everyone wearing those high, monster-style shoes above their regular tap ones. But these “add-ons” don’t impede their incredible performance one bit – a rare tap-dance extravaganza that rivals some of the best seen anywhere nowadays, including Broadway.
Kudos to choreographer Robert Abdoo and dance captain Amanda Lopez for this and so many other colorful numbers featuring locals dressed in early 20th century, Romanian village style by costume and wig designer Johnny Gagno. Major credit also goes to set coordinator Kimberly Wick, stage manager Sage Meyers and assistant stage manager Trenten Hazelton.
