Review: Young Frankenstein - The Musical (Hope Mill Theatre)

Review by Jack McCabe

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To celebrate the 10th anniversary of the Hope Mill Theatre’s in Manchester, they have opted for something truly special - the regional premiere of Mel Brooks’ Young Frankenstein: The Musical. With big shoes to fill, especially given the success of a certain other Mel Brooks’ musical currently wowing audiences in the West End, would this do the trick or would it prove to be a bit of a horror show?

Young Frankenstein follows Dr Frederick Frankenstein, a celebrated New York scientist who inherits his infamous grandfather’s Transylvania estate and reluctantly steps into his family’s legacy. This wonderfully parodic revival explores themes of legacy, love and acceptance all while delivering a performance of the highest calibre in a production that is camp, chaotic and comedically perfect.

The relatively intimate setting of Hope Mill theatre is well-suited for this show, with the choice to embrace a minimalist set allowing the audience to focus on the energy and performance of the cast. Stripped of any unnecessary gloss, a simple yet effective set design from Sophia Pardon feels vibrant and alive, rooted in its gothic appearance. Bold, atmospheric lighting from Aaron J Dootson enhances the mood and cleverly enables fast-paced scene changes and moments of shock. A particularly inventive choice is the use of video across the back of the stage, fantastically designed by Matt Powell. This was creatively utilised to signal changes of scenery, movement of characters and to evoke the feel of classic horror films adding a layer to the production that keeps the audience engaged and constantly aware of the playful parody at hand.

Nick Winston’s direction and choreography demonstrate an understanding of scale and intimacy. Despite the theatre seating only around 140 people, Winston’s creative choices make this production feel impressively large without ever losing its sense of closeness. The choreography is classic yet exuberant, reminiscent of musicals from the golden age of Hollywood. The direction highlighted the commitment to marrying traditional musical theatre special with the offbeat humour of the world created by Brooks.

Little needs to be said about the quality of the music and lyrics. Mel Brooks and Thomas Meehan brilliantly parody and pay homage to the classic horror film genre while maintaining a fast-paced and laugh-out-loud atmosphere. Highlights include ‘Please Don’t Touch Me’, ‘He Vas My Boyfriend’ and, of course, ‘Puttin’ On The Ritz’. The production balances homage with comedic exaggeration allowing the feeling of both classicality and modernity in equal measure.

What truly makes this such an enjoyable evening is the cast. Ore Oduba shines as the charmingly exasperated Frederick, brimming with the energy of a mad scientist, and firmly establishing himself as a skilful leading man. Jessica Martin delivers a masterclass in comic timing as Frau Blücher, the stern and mysterious housekeeper with a performance that is melodramatic and intense. Rhiannon Chesterman’s turn as Elizabeth Benning is equally inspired with her performance of ‘Please Don’t Touch Me’ being a stand-out moment. Pete Gallagher’s Monster and Julie Yammanee’s Inga are equally top-drawer and the ensemble as a whole brings infectious energy to every scene.

A special mention must go to Curtis Patrick for his revelatory turn as Igor. From his first entrance, he commands attention in a perfect blend of physical comedy and sharp intelligence with every twitch, squint and side-eye perfectly judged, and every punchline landing with meticulous precision. Patrick honours this role without ever lapsing into imitation - part clown, part confidant and entirely central to the show’s energy. His rapport with Oduba is effortless, and his physicality is second to none. Whether scampering across the stage, contorting his body or simply delivering a perfectly timed raised eyebrow, he elicits laughter with every movement, Patrick truly anchors this production and is a joy to watch throughout.

This production of Young Frankenstein is a monstrous triumph - lovingly crafted, gloriously silly and performed with impeccable comic timing. Through thoughtful creative decisions in set design, lighting, choreography and video, the show not only honours its source but builds on it for a contemporary audience. At its heart, Curtis Patrick’s Igor is a performance to treasure and one which could raise the dead with laughter. 

Young Frankenstein plays at the Hope Mill Theatre until 30th November. Tickets from https://hopemilltheatre.co.uk/event/young-frankenstein/

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