A Review by Barbara Mehlman and Geri Manus.
Based on one of the most hilarious movies ever made, created by Mel Brooks, the world's funniest man, and boasting an all-star cast of Roger Bart, Megan Mullally, Sutton Foster, Shuler Hensley, Christopher Fitzgerald, and Andrea Martin, not to mention choreography by Susan Stroman, it should virtually scream, "hit, hit, hit."
But if "YF" screams anything, it's shtick! Brooks pulls out every old bit, dusts it off, and puts it out there for new generations. Lines like, "walk this way" reprise Groucho and his cigar, and one wonders where Brooks would be without the Marx Brothers or Sid Caesar.
The special effects in the Transylvania lab, however, are impressive, complete with all the bells and whistles one could not have achieved in the movie version, and they add flair to the production. But even the "Transylvania Mania" and Stroman's choreography seem more like the
"Transylvanian Two-Step," and we feel like we've seen this all before. In fact, the only thing missing here is a rubber chicken.
In 1969, Brooks' comic masterpiece, "The Producers," quietly came into movie houses, and though it wasn't a box office hit, it won an Oscar for Best Writing, Screenplay and Story. It was absurd to the point of insanity, and despite its limited run, was treasured by all who saw it. So when Brooks announced he was adapting the film for the stage, advance tickets sales went into the multi-millions, even before the first preview, and the first few months of the show were completely sold out. The show lived up to the pre-opening hype by garnering 12 Tonys, more than any other Broadway show ever.
Perhaps Brooks thought he could do the same with "YF," which was an unqualified hit, but it lacks the same spark. That doesn't mean, however,
that you won't laugh. You will as you wait for what you know is coming -- the horses neighing every time they hear Frau Blucher's name; Elizabeth singing "Ah sweet mystery of life" when she experiences the Monster's magnificent equipment; Dr. Frankenstein screaming "It's Franken-STEEN!"
One especially clever bit is the ride on the hay wagon, and the lyrics are stock Brooks-ian humor: only this master could fit "medulla oblongata" into a refrain. Based on this, "YF" should elicit guffaws, but the best you'll get out is a chuckle. Only one routine never gets stale: the Monster's soft shoe dance with Dr. Frankenstein while singing "Puttin' on the Ritz." Roger Bart is a worthy successor to Gene Wilder who originated the role in the film, and, as usual, Shuler Hensley, as the Monster, shows again the range of his prodigious talent.
Hensley, in fact, makes the show. He was heartbreaking in the role of Jud in the revival of "Oklahoma!," for which he won a Tony, and poignant in "Tarzan"; in "YF," he's endearing. Andrea Martin is also well cast and adds her comedic talents as Frau Blucher. Sadly disappointing, though, is Megan Mullally who relies on old gestures and bad habits, adding nothing new to this role.
That's about it, which probably explains why Brooks, one of the show's producers, refuses to release the attendance and weekly gross numbers as
other shows do.
Mostly "YF" gets your attention because of fireworks, explosions and gimmicks. But it won't set off any fireworks in your brain. It is, however,
an entertaining evening, so if you're a Mel Brooks groupie, go see it. Next year, look for a remake of "Blazing Saddles" and have your "whoopee cushion" ready.
Barbara Mehlman & Geri Manus
