Annapolis Summer Garden Theatre’s production of Mel Brooks’ Young Frankenstein is a hilarious musical tribute to the classic comedy. Based on Mel Brooks’ 1974 movie, with book by Mel Brooks and Thomas Meehan and music and lyrics by Mel Brooks, the musical follows Frederick Frankenstein as he inherits his grandfather Victor’s Transylvania castle and attempts to recreate his grandfather’s most infamous experiment, with zany results. Directed by Stephen Emery, with music direction by Sarah Mitchell and choreography by Mae Bartek, it is a gloriously funny show to end ASGT’s 60th season.
J.T. Spivy plays Frederick with a comic haughtiness, enthusiastically expounding on the wonders of “The Brain” while giving a comically brutal demonstration of the difference between voluntary and reflex action. Initially dismissive of his family legacy, he pronounces his last name “Fronkensteen,” sharply correcting any differences; in “It Could Work,” he enthusiastically reads his grandfather’s notebooks, seeing the possibilities. His delayed reaction to apparent failure, as well as to being confined with the Monster (Dean Davis), is comic excellence. In “Hang the Doctor,” he embraces his name and his creation.
Emily L. Sergo brings a lusty sensuality to Elizabeth, Frederick’s fiancée. Seeing him off to Transylvania, she wards him off from physical contact, while listing the many wild things he could dream of doing to her in “Please Don’t Touch Me.” “Surprise” has her bursting into the castle at the comically worst possible moment. “Deep Love” is both touching and earthy in its appreciation of finding real love.
Andrew Keegan brings comic enthusiasm to Igor, Frederick’s assistant. Meeting Frederick, he sings “Together Again for the First Time” excitedly, hoping to follow in their grandfathers’ footsteps. He attacks Elizabeth’s fox stole and comically explores the different brains in the Brain Depository. He launches into “Transylvania Mania,” distracting the villagers from the Monster with his dancing and singing.
Madelyn Keir plays Inga, Frederick’s lab assistant, with comic innocence. Meeting Frederick in a wagon, she sings “Roll in the Hay” with wonderfully funny double entendres. In “Listen to Your Heart,” she gleefully suggests a way for Frederick to take his mind off his troubles. CeCe Newbrough plays the castle’s housekeeper with a severity hiding deep feeling. Initially mispronouncing Frederick’s last name and constantly offering him refreshments, she reveals her full connection to his grandfather in “He Vas My Boyfriend,” joyfully describing their raunchy relationship. In a reprise, she sings it with tenderness for the Monster.
Dean Davis brings a sense of power to the Monster, stomping around the stage, strangling Frederick, and mostly grunting. His interaction with the Hermit (Drew Looney) is hilarious. “Puttin’ on the Ritz” has him tap dancing while chewing on his cane and comically singing the title line, at times motioning to his partners that he cannot imitate their dance steps. “Deep Love” is both tender and bawdy. Drew Looney brings excellent comic timing to the Hermit, with great mishaps. His “Please Send Me Someone” is full of longing. He radiates authority as Hans Kemp, leading the villagers to investigate Frederick and punish him in “Hang Him Till He’s Dead” and frantically looking for the escaped Monster in “He’s Loose.”
The Ensemble (Ethan Albo, Nicholas Baranosky, Maura Campbell, Michelle Cantatore-Brown, Kasey Colligan, Thomas Digby, Brendan Guay, Alexander Hamilton, Emma Irvine, Stephen Nickens, Nicole Ricucci, and Kylie Sjolie) are villagers storming the castle, Frederick’s students asking him uncomfortable questions, and Elizabeth’s assistants.
Set designer Christian Londos and props designers Sally Lockley and Pat Browning have created an inventive set. Stone walls surround the ground floor, revolving as needed to reveal instrument panels and shelves with cigars and brains in jars. The balcony has a bookcase, a chair, and a portrait of Victor. A gurney is wheeled out as needed. Costume designer Lisa Chadwick evokes the movie perfectly with a suit and lab coat for Frederick, a black cloak with a hump that changes position in every scene for Igor, and a black dress for Frau Blucher. Elizabeth looks glamorous in a green dress, orange coat, and fox stole, with a hilarious wig at the end. The Monster looks intimidating with enormous shoes, a large jacket, and green face and hands.
Lighting designer Jack Stanley uses spotlights at various moments, as well as strobe effects for lighting and some lab scenes. Special effects by Robert Browning, Ken Johnson, and Matt Fitzgerald help enhance the lab scenes and a comic scene. Sound designer Steven Ney throws out various sound effects, including the famous horse neighing whenever anyone mentions Frau Blucher.
Music director Sarah Mitchell maintains a good balance between the music and singing, while conductor Billy Georg leads the musicians (Linda Christensen, Jamie Kim, Mari Hill, Jeff Eckert, Dave Dimmock, Len Morse, Wes Freeman, Alex Edwards, John Hobson, and Audrey Chang) in performing the music. Choreographer Mae Bartek creates lovely, fun dances, including a “hands-free” one for “Please Don’t Touch Me,” an exciting jitterbug for “Transylvania Mania,” and a lovely tap and kick line for “Puttin’ on the Ritz.” Director Stephen Emery has lots of movement and comic energy, from the well-known one-liners to new puns and double entendres. The performers sing with full energy and hit all the right comic and emotional moments, leading to lots of laughs as well as thoughts about family and legacy. Fans of the movie and novices alike will enjoy Young Frankenstein.
Running Time: Two hours and 30 minutes, including one 15-minute intermission.
Young Frankenstein plays through September 5, 2026, at Annapolis Summer Garden Theatre, 143 Compromise Street, Annapolis, MD. For tickets ($30), call the box office at 410-268-9212 or purchase online.
