Young Frankenstein
As the second professional production of the Clinton Area Showboat Theatre’s summer season, Young Frankenstein delivered a show of monstrously impressive proportions.
Based on the Mel Brooks film of the same name, Young Frankenstein concerns Dr. Frederick Frankenstein, a neuroscience professor and the grandson of the more-famous Victor Frankenstein, who travels to the recently deceased Victor’s estate to tie up loose ends. What Frederick finds there and gets himself into, however, makes the trip all the more complicated as he follows in his grandfather’s path and unlocks new discoveries.
Before Sunday's presentation even began, I was already enthralled by the experience. The theatre itself is so unique and gorgeous, and the pre-show, campy horror posters lining the walls, dusty chandeliers acting as house lights, and dimly lit stage set the environment from the start. Directed by Showboat veteran Matthew Teague Miller and choreographed by Rebecca Frazier, this Young Frankenstein is full of high-energy musical numbers, and the whole piece, from the smartly utilized space to the relatively simple set design, was marvelously staged top to bottom.
Jack Ducat's Frederick starts the show a respectable brain scientist, and by the end of the musical ends up as much more, and the actor displays the ability to play both extremes with a strong voice and impressive presence to match. Ducat is one of a handful of college-aged performers in this company of professionally contracted artists, and he is right up there alongside them in regard to talent and stage artistry.
Olivia Sauerberg's Inga, an inhabitant of Transylvania, is introduced to us through a ridiculously funny, cleverly staged hayride sequence featuring the song “Roll in the Hay.” Sauerberg was bright, playful, and engaging, and played well alongside Ducat. Igor (Drew Boudreau), known as the henchman and servant to the late Victor Frankenstein, gravitates to the new, Young Frankenstein with a similar dynamic. Igor reels Dr. Frederick into the creepy, dusty world, and the two end up mad-science pals. Boudreau’s character acting, physical and vocal choices, and stage relationship with others made his performance entertaining.
As portrayed by Bryant Cobb, the Monster created by Frederick and Igor. is especially entertaining during the “Puttin' on the Ritz” number, in which the bumbling creature, Frederick, and the show’s ensemble break out into a full-fledged, sensationally well-choreographed song and tap dance. There are also multiple witty situational twists to the story that involve the Monster, but I won’t spoil those for you. Frau Blucher is the former lover of Victor Frankenstein, and Nancy Teerlinck lends great dry humor, shadowy drama, and gravity to the piece. Her “He Vas My Boyfriend,” for example, was sung wonderfully, and Teerlinck provided some excellent dynamic balance to scenes featuring bolder characters.
Near the beginning of the show, Frederick and his fiancée Elizabeth Benning (Reese Henrick) say goodbye as he departs for his trip, and it's clear that their relationship is a bit dysfunctional. For example, he’s not allowed to touch her, at all, which we see in “Please Don’t Touch Me” when they dance a waltz without touching. Elizabeth also returns later in the show, at the worst possible moment, and Henrick’s command of the stage was unmatched. Boasting a wildly sensational voice, her expressiveness and over-the-top dramatic drive through carried Elizabeth's scenes magnificently.
Rounding out the cast is Transylvania's Inspector Kemp (Ryan Scoble), who is determined to capture the Monster. Scoble had several subtle, expertly performed comedic specifics as the show’s antagonist, and alongside him were angry villagers also trying to stop the monster, and played by a stellar ensemble that enacted a variety of other roles during the production. Their dancing ability, performance power, and audience engagement were all evident, and everyone leaned into the musical's ghoulishly campy energy. Ensemble member Mundo Ballejos also doubles as a mysterious blind Hermit who sings a beautiful solo ballad in Act II (“Please Send Me Someone”), a scene in which the Monster stumbles into his hideout and great slapstick comedy ensues.
Much of Young Frankenstein (if not the entire thing) is pure self-aware fluff. However, Miller's production did fluff seamlessly and extremely well. James K. Davis's dynamic lighting design, which sported an array of colors, was spotty, but in a good way – creating a dusty, shadowy environment, but keeping the visuals colorful and playful. Davis also used a lot of side lighting, which created cool effects. One of my favorites came during the activation of the Monster, in which hidden lights were revealed upstage. And another specific worth mentioning is the sound quality, which was among the best I’ve yet heard in local theatre. The voices of the performers were all beautiful, the mics were super-clear, the pit orchestra was outstanding, and the audio balance of all of the elements was clean and professional.
Young Frankenstein was high-energy, visually stunning, and staged and performed incredibly and with great detail. The content is highly enjoyable, and this company delivered the content in all the right ways. It’s a bit of a drive for QC residents, but it was so worth it. I'm looking forward to returning to the Showboat this summer.
Young Frankenstein runs at the Clinton Area Showboat Theatre (311 Riverview Drive, Clinton IA) through June 25, and more information and tickets are available by calling (563)242-6760 and visiting ClintonShowboat.org.
