Photo: Mark Senior
Mel Brooks’ musical adaptation of the 1974 black and white horror comedy Young Frankenstein made its UK debut in Newcastle back in 2017, before taking the West End by storm. Now, in celebration of Hope Mill’s 10th anniversary, this spine-tingling spoof has been reanimated for the spooky season.
When esteemed neurosurgeon Dr Frederick Frankenstein learns that he has inherited his infamous grandfather’s estate, a trip to Transylvania soon entices him into revisiting Victor’s outrageous experiments.
Slick direction from Nick Winston ensures an excellent blend of sci-fi and silliness transfers from screen to stage; from flouting horror film tropes to dancing with double meanings, one scene effortlessly flows into the next as Dr Frederick and co descend into chaos. This remains both a satire of and a tribute to the cult classic.
Though Ore Oduba perfectly captures the self-assured and resolute demeanour of the Dr, Curtis Patrick’s Igor is his sidekick in name only. Patrick’s stage presence is magnetising: any and every interaction has all eyes on him. Even in the background, his commitment to presenting a happy-go-lucky, devoted minion is steadfast. A rising talent to look out for.
Julie Yammanee delights as lab assistant Inga- her Roll in the Hay is a bouncy, yodel-filled hoot- while Frederick’s fiancée Elizabeth Benning is wooingly portrayed by Rhiannon Chesterman. Please Don’t Touch Me makes for a memorable introduction, and she really personifies the genre-splicing tone with her arrival at the castle in the second half.
Bringing The Monster to life is Pete Gallagher, and Simeon Truby provides a deep, powerful voice to Inspector Kemp as well as Hermit. This performance is also blessed with a formidable ensemble that vivifies group numbers including He’s Loose and Transylvania Mania, but Puttin’ on the Ritz is a show-stopping tap number in which the entire cast shine.
This musical does of course call to mind The Rocky Horror Picture Show, and, while Young Frankenstein boasts a brilliant set of numbers, it is a wonder why one or two songs with an uncanny edge do not feature, Over at the Frankenstein Place being a very on-the-nose example to compare against. However, proportional absurdity and hilarity are very much present in this production.
Sophia Pardon’s set design combines essential scary movie settings- deserted station platforms, castles and the mad scientist’s lab- with light-hearted on-screen visuals.
It’s zany, it’s electrifying, it’s…ALIVE!
Young Frankenstein continues at Hope Mill Theatre, Manchester until 30th November with tickets available from https://hopemilltheatre.co.uk/event/young-frankenstein/
Reviewer: Scot Cunningham
Reviewed: 16th October 2025
North West End UK Rating:
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