Young Frankenstein as presented by Naas Musical Society

Society name: Naas Musical Society

Show name: Young Frankenstein

Adjudicator date of attendance: 19.03.2025

Brief Overview of Show and Evaluation of Front of House

Mel Brooks’ Young Frankenstein is a big, brash, and gleefully irreverent musical comedy—full of cheeky humour, physical comedy, and musical pastiche. This production embraced the madness of the material with energy and charm, resulting in an evening full of laughter and applause.

From the opening number to the final bows, the cast and creative team clearly committed to the unique tone of the show. Raunchy without being crass, the humour was well-handled, and the story was told with clarity and confidence. Performers across the board demonstrated understanding of the style.

Front of House staff were welcoming, efficient, and enthusiastic. They helped set the tone for the evening with a smooth check-in process. The environment in the venue felt vibrant and supportive, suggesting a well-loved and well-attended society with a loyal audience base. 

Director – Direction and Production

Sharon McNamara’s direction was strong, clear, and full of intelligent decisions. The storytelling was confident and easy to follow, with good pacing throughout and a clear understanding of both the comedy and the heart within the show. The physical staging was clean and inventive, often making the most of the available space and cast.

Comedy, especially of the farcical kind that Young Frankenstein relies on, is notoriously difficult to direct well. Sharon hit many of the show’s key comedic beats, allowing moments to land without forcing them, and trusting her actors to handle the humour. The more risqué elements of the script were tastefully navigated—suggestive but never uncomfortable—which speaks to a director that values audience comfort.

Characterisation across the board was consistent and well-developed, with no noticeably weaker links. Each performer had a clear understanding of their role, and ensemble scenes felt purposeful and coordinated. The comedic timing of the ensemble as a whole was tight, and transitions between scenes were swift and smooth, helping to maintain energy.

One scene that didn’t quite hit its full potential was “Roll in the Hay”. It wasn’t clear whether the characters were falling into those increasingly suggestive positions or deliberately maneuvering into them, which made the comedy slightly less effective. A bit more physical playfulness or a clearer directional intention here could have added to the humour.

Nevertheless, Sharon’s steady hand was evident throughout the production. She drew cohesive performances from her cast, maintained an excellent overall pace, and brought a clear, playful vision to the show.

Musical Director – Direction and Orchestra

Mairead McKenna’s musical direction was one of the great highlights of this production. The band sound was beautifully full, rich, and cohesive, with not a note out of place. The balance between instruments and voices was superbly managed—even with the added challenge of mixing the band from another room. Each instrumental texture supported the singers without overpowering them, and the overall quality of sound was exceptional. The chorus produced a stunning sound. The harmonies were tight, and the diction was clear and precise. Even with fewer male voices, the balance felt considered, and the vocal arrangements still packed a punch. The quartet number stood out as a vocal high point, showcasing not just the skill of the performers but the clear, thoughtful preparation of the musical director behind them.

Mairead’s attention to musical detail, tone, and dynamic control allowed the cast to perform with confidence, knowing the music was a strong and supportive foundation.

Choreographer – Choreography

Choreography was a little more mixed in execution. Deirdre Browne had some lovely ideas and a clear understanding of how to stage ensemble movement, but consistency across numbers varied. The opening number was dynamic, well-structured, and set the tone effectively. In contrast, “The Brain” lacked the same energy and fullness—it felt a little underdeveloped in comparison and might have benefited from a bolder choreographic vision.

“Putting on the Ritz” was a clear standout. It was joyful, slick, and full of energy. The tapping was well-executed, and the number had the visual spectacle and comic charm required to make it one of the show’s highlights. “Transylvania Mania” was noticeably messier. Timing issues and uncoordinated movement disrupted the visual cohesion, and one or two dancers behind the beat became a distraction. In a company with several very strong dancers, any inconsistencies tend to be more visible, so precise placement and more focused rehearsal time would help.

Deirdre’s choreography had strong foundations and was mostly well-executed, but it would benefit from extra attention to synchronisation and variation in levels and formation to keep every number visually engaging.

Leading Principals – Singing and Acting

Dr. Frankenstein – Rory Dignam. Rory delivered a competent performance with strong vocals and a clear sense of character. His voice was lovely to listen to—sweet and tuneful—but the portrayal didn’t fully captivate. He played the innocence well, but something about his characterisation felt slightly detached from the comedic chaos around him. A bolder performance with more physicality and contrast might have lifted this into something more memorable.

Igor – Daniel Ryan. Daniel brought energy and humour to Igor. His vocal work was strong, and he moved with ease around the stage. However, a greater commitment to Igor’s physical quirks—particularly staying hunched throughout or making more comedy of standing straight —would have strengthened the characterisation. He flirted with the eccentricity needed but didn’t fully lean into it. A more consistent approach would add depth and comedic payoff.

Inga – Serena Salmon. Serena was confident, charming, and thoroughly enjoyable. Her vocals were strong and impressively controlled, especially during “Roll in the Hay,” which requires both stamina and comic timing. She had a playful, flirtatious stage presence and commanded attention whenever she was onstage.

Supporting Roles – Singing and Acting

Frau Blucher – Clodagh Donnelly. Clodagh gave a strong and consistent performance. Her comedic timing was solid, and she brought a well-developed physicality to the role. Her solo number was delivered with conviction and control. She was a clear crowd favourite and carried the role with confidence.

Monster – Cormac Malone. Cormac made a real impact with a non-speaking role. He used facial expressions and body language well to convey emotion and deliver laughs, particularly in “Putting on the Ritz.” His physicality improved as the show went on, and his final moments were impressively emotive.

Elizabeth – Jodie Kelly. Jodie was a true standout. Her comic timing was razor-sharp, and her character arc—from prim fiancée to unashamed vamp—was brilliantly judged. Vocally, she was phenomenal: rich, soulful, and powerful, with a strong belt and great control. Her solo was a highlight and showed her command of both voice and comedy.

Victor von Frankenstein – Sean O’Keeffe. Sean captured the ghostly essence of Victor well. His song was delivered with a nice sense of style and theatricality. He played the spooky charm of the role without overdoing it.

Inspector Kemp – Andrew Docherty. Andrew was suitably rigid and self-important. His accent work was consistent, and he had a clear grasp of the character. There was room to push his sternness further, which might have made his comedic moments stand out even more.

The Hermit – Tom Joyce Tom’s vocal performance was one of the highlights. His song was beautifully sung, with rich tone and sincerity. The physical characterisation of the blindness was less convincing; more attention to this detail would have grounded the performance.

Ziggy – Paul Dicker Paul was one of the most energetic and committed performers onstage. He leaned into the madness of the role with gusto and gave an enjoyably eccentric performance. His full-body commitment was infectious and fun.

Chorus and Ensemble – Singing, Acting and Choreography

The chorus was vocally excellent. Their diction, harmonies, and control were top-notch and clearly the result of careful rehearsal and vocal coaching. The overall sound was rich and confident, a genuine strength of the production.

Movement-wise, the ensemble featured many capable dancers, and this showed in the more tightly choreographed numbers. However, the one or two performers who lagged behind beat or formation did slightly mar the overall visual polish. With such strong talent in the company, tightening uniformity of movement would help maintain a professional sheen.

Facially and dramatically, the ensemble stayed engaged and committed, contributing to the world of the piece with consistency. Their energy was high throughout, and they supported the action with flair.

Stage Management and Set Design

The set was simple but effective. Projections were a clever addition and helped with storytelling, though their positioning could be improved to avoid lighting cast members below. Texturing the surface, they’re projected onto would also help integrate them visually when the projections are off. There were some inconsistencies in the painted stonework that interrupted the overall finish. A uniform painting approach would have added polish.

Stage management was smooth and unobtrusive, which is always a mark of good practice. One issue was a persistent light from stage right that spilled onto the stage and cast shadows when cast moved in front of it. This became distracting in moodier scenes and should be addressed in future runs.

Technical – Lighting and Sound

The lighting was visually stunning. There were some beautifully composed moments, enhanced by thoughtful colour choices and careful focus. Coverage was even and well balanced. There were a few scenes that might have benefited from brighter washes to support visibility, and a couple of cues shifted from bright to dimmer states mid-song in a slightly jarring way, which disrupted the visual rhythm.

Sound was absolutely superb. Every cue landed perfectly. Vocals and band were balanced with precision, and even in full ensemble numbers, clarity never faltered. The team managing the mix, especially with the band in a separate room, deserve particular praise for such seamless integration.

Visual – Costumes, Hair and Make-Up

Costumes were generally strong and well-fitted. A few needed an iron, but the overall design was well thought-out. The sparkly black jackets in “Puttin’ on the Ritz” were a particularly striking touch. Elizabeth’s attendants could have been more uniform in style, and the Monster’s costume might have benefitted from more bulk to increase his visual presence.

Hair and make-up were mostly well done. Some minor inconsistencies—like the Monster’s facial makeup not matching his limbs, or Victor’s ghost makeup not extending to his neck—slightly broke the illusion. Frau Blucher’s drawn-on wrinkles felt outdated; more subtle contouring might have achieved the same effect more naturally. That said, the attention to detail across most of the cast was evident and thoughtful.

Adjudicators suggestions/ comments- overall comments on the production and comments to enhance the standard for future performances.

This production of Young Frankenstein was full of charm, wit, and strong performances. It showcased a well-rehearsed and capable company, backed by an excellent creative and technical team. From the orchestral sound to the strong ensemble vocals, there were many moments of real excellence.

For future productions, attention to consistency in movement, more dynamic variation in choreography, and tightening some technical transitions would help elevate the standard even further. Encouraging leads to take bolder risks and deepen their physical characterisation—especially in comedic roles—would also enhance performance impact.

Sharon, Mairead, and Deirdre led a company that clearly loves what they do. The show was joyful, polished, and full of energy. The laughter and applause were thoroughly deserved. Congratulations to all involved—this was a memorable night of musical theatre!

Photos by Paul O'Rourke