Review: YOUNG FRANKENSTEIN at Mercury Theater Chicago

Just in time for spooky season, Mel Brooks’ YOUNG FRANKENSTEIN has debuted at Mercury Theater Chicago. Of course, The Monster that haunts this musical is more comedic than scary — and that’s exactly how I like my Halloween entertainment. While YOUNG FRANKENSTEIN isn’t as clever or as funny as Brooks’s THE PRODUCERS, it’s a fun choice for the season. And even if not all of Brooks’s lyrics are memorable, Mercury Executive Producer L. Walter Stearns’s production is a laugh-out-loud event. 

With music and lyrics by Brooks and book by Brooks and Thomas Meehan, YOUNG FRANKENSTEIN introduces Dr. Frederick Frankenstein, a self-serious brain surgeon and grandson of the famous Victor Frankenstein. When Dr. Frankenstein inherits his grandfather’s estate, he heads to Transylvania. There, he’s met by quirky sidekick Igor, Inga, a beautiful blonde German lab assistant, and Frau Blücher, who has a special connection to his grandfather. Although Dr. Frankenstein has carefully evaded his grandfather’s mad scientist antics, it’s not long before the Transylvanian trio persuade him to dust off an old science book...and soon, the Monster is unleashed onto the town. 

YOUNG FRANKENSTEIN is replete with mad-cap physical antics and double entendres. Brooks understands classic slapstick comedy, and it’s up to Mercury’s game ensemble to bring it to life. Sean Fortunato has a challenge in the leading role as Dr. Frankenstein: His character is by-and-large the show’s straight man, but he needs to make him compelling enough to win over audiences. He meets that challenge, and he adds just enough daffy flair to the role. It’s a particular joy to watch him alongside Andrew MacNaughton as the Monster in the second act number “Puttin’ on the Ritz.” In order to persuade the town — and particularly Inspector Hans Kemp (Jonah Winston, always a delight) — that the Monster is not a threat, Dr. Frankenstein teaches him to sing and tap dance. With toe-tapping choreography from Brenda Didier and music direction from Eugene Dizon, it’s a ritzy second act climax. MacNaughton also has great physicality and facial expressions throughout as the Monster — even though most of his stage time is spent without spoken dialogue. 

Similar goofy antics abound in YOUNG FRANKENSTEIN, even if they’re not as lyrically memorable. Isabella Andrews is sweet and funny as Inga; although the role is a caricature, Andrews makes it obvious that Inga takes herself seriously. Her first featured number “Roll in the Hay” is an endless slew of slapstick double entendres, and Andrews handles the fast pace beautifully. As Igor, Ryan Stajmiger has some of the best face play in the entire production; he has one of those elastic faces made for comedy, and he commits fully to all of Igor’s bits. And although the Hermit’s solo number “Someone” is an easy cut from the show because it has no bearing on the plot, understudy Callan Roberts handled the role delightfully on opening night. Though none of the songs really stick out, I will say that Brooks and Meehan have paced YOUNG FRANKENSTEIN immensely well — aside from a few extraneous scenes, it moves along nicely. The whole ensemble’s flair for slapstick comedy also ensures that there’s no slack when it comes to the jokes. 

Mercury’s YOUNG FRANKENSTEIN is a Halloween treat with many classic musical comedy tricks.

YOUNG FRANKENSTEIN plays at Mercury Theater Chicago through December 31, 2023. Tickets are $35-$85.

Photo Credit: Liz Lauren

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