Playwright: Mel Brooks & Thomas Meehan ( book ) , Mel Brooks ( music & lyrics ) . At: Cadillac Palace Theatre, 151 W. Randolph. Tickets: 800-775-2000; www.BroadwayInChicago.com; $30-$95. Runs through: Dec. 13
Folks who've never seen Young Frankenstein the Movie will have a high old time at Young Frankenstein the Musical, an old-fashioned song-and-dance show where the gags come fast and furious. Mel Brooks, the principal creative force behind movie and musical, has an inexhaustible joke book that begins with brainy puns, builds to semi-scatalogical anatomical comedy and ascends to the heights of Jewish humor. As a composer and lyricist his songs are smart, tuneful and appropriate if not particularly memorable. He's penned some wickedly-sharp pattersong lyrics and a decent ballad or two, as well as comedy and character numbers in various traditional Broadway styles. The cast of director and choreographer Susan Strohman bursts with talent, and Roger Bart in the title role is charming ... but more about that later.
But what about those who have seen the 1974 movie? The inevitable comparisons will focus broadly on film vs. stage, and narrowly on the lead role of Victor Frankenstein, played on film by Gene Wilder.
One of the great joys of the movie is that, in addition to a brilliant concept and script and stellar performances, the filmmaking itself is a loving parody of the 1930s horror film genre. Shot in black and white, it features the expressionistic shadows, sharp camera angles and period art decoration of the 1931 original that inspired it. The entire filmic aspect is, of course, completely missing in a full-color Broadway musical which swaps film style for Broadway song-and-dance. About half the numbers work very well, but the other half just try too hard to force songs into what were brilliant non-musical movie moments.
As the musical's Victor Frankenstein, Roger Bart doesn't try to impersonate Gene Wildermuch to his creditexcept at a few key moments. Bart is different rather than empirically better or worse. Wilder, even when still, has a manic intensity few actors can duplicate. He has an attack, an edge, a hint of danger about him. The boyish Bart lacks that hint of danger although he moves and sings with ingratiating grace and has excellent comedy chops. But Bart offers a more subtle performance than Wilder's in a show with a pedigree that includes burlesque, a very unsubtle type of entertainment. Victor refers to himself as "sane" in contrast to his grandfather who created the first creature. In a way, Bart's Victor is safe and sane ( as well as virginal ) , surrounded by loonies, but this interpretationin part Strohman's, toooffers no particular benefit for the show.
Among other players, Joanna Glushak's Frau Blucher and Shuler Hensley's Monster were the crowd-pleasers ( rightfully so ) , and experienced eyes also could appreciate the high-stepping eccentric dancing of ensemble members such as Chuck Rea as the Village Idiot.