Ellesmere Musical Theatre Company’s Young Frankenstein – 11 October 2024, Lyceum Theatre

Review by Claire Taranaski.

In a year when many of our favourite Sheffield theatre companies shows have been moved or even sadly cancelled due to the renovations at the Montgomery Theatre (we can’t wait to see it when it re-opens) it feels only right that Ellesmere MTC were upgraded to the Lyceum for one (if not their best) show yet (definitely the funniest) in the 50th anniversary year of the film the musical is based on (Mel Brooks would be incredible proud).

For those new to the show and Mel Brooks style (which if you’re not don’t worry as the ladies beside me weren’t and like the entire audience were in stitches throughout) the musical is set in the 1930s and follows Dr Frederick Frankenstein (pronounced “Frankensteen”), the American grandson of the infamous Victor Frankenstein. Initially determined to distance himself from his notorious past, reluctantly travels to to Transylvania after inheriting his grandfather’s estate. There he becomes entangled in a bizarre world of reanimation when he brings a creature to life, much like his ancestor.

This production featured a cast and ensemble who always very talented upped their game even more and seemed to relish being in the show and performing its comedy just as much as the audience. All the main cast had natural chemistry, great stage presence and a connection with each other that meant they brilliantly connected and bounced off each other.

Danny Hawley as Frankensteen’s leading man performance was a cross between a Marx Brother and a young Professor Robert Winston; Sarah Morrell as Inga, in her first role with the company made me desperately want to see her in and reminded me of another Mel Brooks role of Ulla in The Producers (Sarah’s dancing and yodelling on the haywagon during “Roll In The Hay” was one of many highlights of the show for me and will stay with me for a long time); and Carol Wibberley proved she was made for musical comedy madness at her most absurb, funniest and sexiest as Frau Blucher (her performance of “He Was My Boyfriend” was my favourite musical number of the entire first act).

Gina Holmes as Frankensteen’s fiancé Elizabeth Benning immediately gave me flashbacks to my favourite ever performance of hers’ as Lady of the Lake in Spamalot (so good that at the time I immediately ordered the soundtrack) with her superb stage presence, voice and acting talent shining through and in a similar way confirming the right character and having very little stage time can still steal show the show every time they do appear, with her use of the words “tits” and contactless dancing in “Please Don’t Touch Me” being one of many highlights.

However the person who stole the show, from the moment they appeared on stage for his number with Frankensteen “Together Again” was Damien Ross as Igor. I always get excited when I see Damien is going to be in a show as he’s always great, but in this role he could not have been better cast if Mel Brooks had done the casting himself, well and truly capturing the spirit of the character and the original film whilst also reminding me of the likes Peter Serafinowicz and Kevin Eldon in his obscure comedy ability. It felt like Damien had been possessed by the the spirit of Igor, in a great way.

Of course you can’t think of the musical without thinking of the Monster and Andrew Stansall was unrecognisable in the role, not only having the added challenge of performing in the costume but also for having the biggest character development and being in the two most famous scenes in the musical (that are worth the ticket price alone). The first of these is his hilarious slapstick scene with the blind Harold the Hermit (played by Andrew Coan) sandwiched between Andrew’s moving performances of “Someone” and the second, the tap dancing groaning “Putting On The Ritz”, which Ellesmere MTC made their own not just giving the Monster the chance to shine but the main cast and ensemble (keep an eye on the Monster’s shadow).

Of course a cast does not make a show alone, and high praised is deserved by everyone behind the scenes especially the creative team of director Adam Walker and, new to Ellesmere MTC, choreographer Kat Burton who between them not only brought the best out of the cast and ensemble but truly brought the energy of Mel Brooks to the Lyceum stage. Another choreography highlight was the act one Thriller inspired finale “Welcome To Transylvania”. Making up the last of the creative trio was Gareth Lloyd as Musical Director who as always provided a wonderful musical accompaniment to the show.

Others behind the scenes who deserve a special mention are those involved in costumes and makeup, from the Monster to the band of villagers and everyone in between; sound and light for capturing the atmosphere of the original film; and props with a personal favourite being the revolving bookcase.

A show that is a sensational side-splitting way to celebrate Halloween and distract you from dark autumn evenings, not forgetting it’s inclusion of the essential “He’s alive”, Ellesmere MTC production should not be missed by musical and comedy fans alike and sadly you only have two more opportunities not to miss it (the matinee and evening performances on Saturday 12 October).