Young Frankenstein as presented by Rush Musical Society

Rush Musical Society 

Young Frankenstein 

Friday 21st March 2025 

‘Young Frankenstein’ is an irreverent romp of a show, based on the Mel Brooks classic film. As with any of Mel Brooks’ creations, those who are easily offended should leave all prudishness and sensitivity at the theatre door, as much innuendo is guaranteed. It is a wonderfully eccentric parody of the horror film genre and Rush Musical Society’s take, with its bizarre, offbeat characterisations and much comic lunacy, delivered a highly entertaining production, full of surprises and lots of laughs. 

There was a very warm welcome front of house. The Millbank Theatre is one of my favourite venues with an ambience all of its own. I was very interested to see how such a big show could be produced in such an intimate space. As always, the atmosphere in the theatre was electric prior to the start of the show and the very funny front of house announcements, encouraging us to switch off our “mobile voice transportation machines” set the tone for the madcap antics which were to follow. 

Director Wilfie Pyper, presided over a very slick production which was full of comedy, double entendre and much innuendo. He created a very immersive experience for his audience utilising the centre aisle to great effect as he created much excitement with characters entering and exiting through the audience. Pace was generally good throughout and there was great focus on physical comedy, with very well-rehearsed and executed slapstick sequences which delighted the audience. There was wonderful work with principals and ensemble always performed with purpose and understanding of the narrative. The monster chasing Ziggy out through the audience after ‘He's Loose’ was a great touch, which allowed for a much slicker transition to the laboratory. A really impressive job from Mr. Pyper overall. 

Sarah Lynch Barrett did a wonderful job as musical director, mastering what is a complex, dynamic score with her fine orchestra which was housed backstage. Principal singing was of a very high standard throughout and there was great work with ensemble vocals also. There was particularly impressive detail in the very difficult ‘Life, Life’ with Frederick, Igor, Inga, and Frau Blucher. However, there were moments in the show where the band was too loud. ‘The Happiest Town in Town’ had too much brass in the mix, which overpowered vocals. There was a similar issue in ‘Join the Family Business.’ Tuning in the quintet for ‘Welcome to Transylvania’ could have been more secure. Overall, an excellent job from Ms. Lynch Barrett. 

Leah Meagher embraced a variety of styles in her choreography from the vaudevillian feel of the brilliantly performed ‘Together Again’ to the wonderful tap routine of ‘Puttin’ on the Ritz.’ This was an excellently choreographed show. There was great quirky movement in ‘The Brain’ and ‘Please Don't Touch Me’ was perfectly in keeping with the comedic narrative of the show, with very funny work from all as the couples joined Elizabeth and Frederick. ‘Join the Family Business’ was another excellent routine, hugely energetic and with a strong focus on 

telling the story. ‘Roll in the Hay’ was quite the eye opener, leaving nothing to the imagination as the song built to its climax… ‘Transylvania Mania’ was a superb ensemble dance routine even if the stage did appear a little crowded at times. There was exceptional work from the Monster, Frederick, Inga, Igor, and the tappers in ‘Puttin’ on the Ritz,’ another wonderful routine. Ms. Meagher herself, who had to step in at late notice, was a standout performer in all routines. 

Simon Pyper was a triple threat as the protagonist Frederick Frankenstein. He played the role with a delightful mix of charm and comedic flair, making him a firm audience favourite. Mr. Pyper understood the genre and his facial expressions, sharp timing and great physicality were stamped all over his characterisation. His diction was impeccable in the very wordy ‘The Brain,’ which is right up there with the Major General’s song when it comes to challenging patter delivery. Mr. Pyper exuded confidence throughout, skilfully balancing frivolity with authority in this hugely challenging role. 

Niamh Banim was an exuberant Elizabeth, Frederick's madcap fiancée. This was a very comical performance. Ms. Banim had a super voice, at its very best in ‘Please Don't Touch Me,’ an hilarious take on setting boundaries. Her very knowing, stringing along of Frederick was comedy gold. Ms. Banim’s performance in ‘Deep Love’ was one of the high points of the show for me, with her very funny, self-aware performance and wonderful vocal. Indeed, her hilarious whirlwind romance with the monster was one of the comic highlights of the show. 

Aoife Parkes played Frederick’s enthusiastic laboratory assistant, (and subject of much innuendo!) Inga, with a wonderfully ditzy and naive touch. Her incredible vocal in ‘Roll in the Hay’ was a delight, with her excellent yodelling being most impressive. She embraced the madness of the song, leaving all inhibitions in the dressing room, to give one of the performances of the night. ‘Listen to Your Heart’ turned the familiar ‘man seduces woman’ scenario of musical theatre on its head and Ms. Parkes milked this number perfectly, getting every ounce of comedy from her performance. A very impressive, spirited, and funny performance overall. 

In the role of Frankenstein’s Monster, Daniel Farrell had an imposing, towering presence which was further supported by some innovative footwear design. Having acquired a very smooth brain from none other than Abby Normal, he grunted his way through what was a fabulous performance. He was excellently expressive and his ability to find layers through 

monosyllabic groaning and over-the-top facial expressions was most impressive. Mr. Farrell brought the house down with his brilliant signature number ‘Puttin’ on the Ritz’ and boy could he move! 

Gary Finegan avoided a Marty Feldman imitation in playing Frederick's eccentric manservant Igor, putting his own original and very funny stamp on his characterisation. He nailed the physical comedy of the role getting much milage out of his ever-roving hump, which appeared to have a mind of its own. Mr Finegan created a wonderfully funny character, balancing comic insight with moments of intense insanity. I loved his childlike explanation of how he came into possession of Abby Normal’s brain and his description of Inga assisting Frederick’s brains out had me in stitches. Top-notch comedic timing and wonderful physicality, along with hilarious facial expressions, made this a very memorable performance. 

I am still a little bit in awe of what Niamh Parkes did in playing the role of Frau Blücher (insert frightened neighing here). Due to a most unfortunate accident, the original actress was 

unable to go on after opening night. Not alone was Ms. Parkes incredibly brave to step up to the plate in the manner in which she did, but she also delivered an off-book, flawless performance on the night that I saw the show – her second night in the role. Ms. Parkes was ominously stern and delivered a remarkable vocal performance in the very wordy, vocally challenging ‘He Vas My Boyfriend’ in which she lost herself as she passionately recalled her relationship with Frederick's grandfather, Victor. This was a powerhouse performance vocally and comedically and Ms. Parkes deserves every credit for what was an astonishing performance under the circumstances. 

Brian Magennis played everyone's favourite amputee, Inspector Hans Kemp. This was a very funny performance, strong on physical comedy. He had good comic timing and played well off Ziggy, the village idiot. Mr. Magennis just needed to be careful to be consistent with the movement of his prosthetic right arm, particularly when hitting Ziggy. 

Barry Kavanagh gave a very funny but ultimately heartwarming performance as the blind Hermit. It is difficult to make an impact when you have just one scene, but the very experienced Mr. Kavanagh delivered a hilariously funny, yet melancholic performance. He sang beautifully in the poignant, ‘Please Send Me Someone.’ His scene with the Monster was brilliantly performed. 

John Furlong had a very impressive cameo as Victor Frankenstein, Frederick's late grandfather. Mr. Furlong was a superb character with great expression. His ‘Join the Family Business’ was wonderful, full of character and drive as he tried to convince his grandson to continue the grisly work he had begun before his death. 

Dean Mulraney was a very funny village idiot, Ziggy. Mr. Mulraney’s over-the-top facial expressions and keen timing made the most of every comic opportunity in what was a delightfully gormless portrayal. His palpable delight at the prospect of a gay bar opening was quite hilarious. There was good support too from DJ Forkan as the telegraph boy. 

The ensemble was highly committed and very in tune with the humour of the show, whether playing villagers, ancestors, or medical students. They were well-prepared and well rehearsed, performing with great confidence. They were fabulously strong in the opening, ‘The Happiest Town in Town,’ very focused on storytelling and, although their vocals weren’t always clear, it was evident that they were giving everything to their performance. There was great work too during the final scene with suitably over-the-top reactions to the hanging, the monster's return and Frederick coming ‘back to life.’ 

Stage management by John Foley was generally quite slick. With such an episodic show, which moves along at pace, it can be difficult to maintain continuity, but Mr. Foley and his crew did a fine job. There was very impressive work in coordination of the trucks and table coming on and off for the laboratory scenes. I'm very aware of how tight things are side stage in the Millbank, so this this made things all the more impressive. Once or twice, crew needed to hold for blackouts before initiating scene changes. 

The set itself was very cleverly designed, tailor-made for the intimate, challenging space at the Millbank. ‘Young Frankenstein’ is a monster of a show and I was very keen to see how it would translate onto this stage. The set had a very gothic feel and I loved the cogs and oversized bulbs, a nod to the scientific mayhem which would follow. The centred, circular screen for projection images worked very well, as did the upstage steps and upper levels, allowing for various staging options. The projections themselves, which suggested various locations, blended perfectly with the set design, creating great depth, authenticity, and sense 

of place. The castle door (with its fine knockers!) was a great piece, as were the side-hinged flats which opened out for the laboratory and the trucked laboratory machines. 

The lighting in the show was wonderfully atmospheric. There were fabulous, suitably ghoulish, ghostly greens in ‘Join the Family Business.’ I loved the wonderful lighting effects in the laboratory. The effects on the walls of the set for ‘He's Loose’ were wonderful, evoking a forest scene. ‘Puttin’ on the Ritz’ was very showy, with moving lights galore. There was also very clever use of backlighting to achieve the monster silhouette in ‘Puttin’ on the Ritz.’ I felt that the train station was very bright and flat. The music for Igor's first entrance suggests a mysterious, ominous, eerie location and I felt that this could have been reflected more in the lighting design. With low fog and haze machines available, I felt a more could have been done at this point. 

Sound for general dialogue was very good and very well-cued. There was also excellent use of well-chosen sound effects such as the class bell, seagulls, and all of the wonderful sound effects in the laboratory, which were very well-timed with the throwing of the switches etc. I felt that with the band outside of the auditorium, balance should have been better with the onstage performers. I struggled to hear words at times. In the opening, ‘The Happiest Town in Town,’ I couldn't hear any of the ensemble vocals. Lyrics were also lost in ‘Join the Family Business’ and spoken lines were overpowered in ‘Please Don't Touch Me’ as passengers spoke about the new dance craze. As I attended quite early in the run, I'm sure that this was addressed. 

Props were generally well-chosen with most looking very authentic to the era. From the clipboards, pencils, brain, and skeleton in Frederick's lecture, to the lanterns, pitchfork, and rake in ‘He's Loose,’ there was good attention to detail. The branches used for ‘He's Loose’ were simple but very effective and I loved the shattering mug for the Hermit and monster's toast, which worked perfectly. The only thing that I felt looked out of place was the wheelchair which I thought was too modern-looking for the era. 

The hair and makeup for this show were exceptional. Ensemble hairstyles were era appropriate and there was great attention to detail with the very impressive wigs throughout. Frau Blucher's very attractive unibrow had me in stitches and the Hermit was a wonderfully hirsute creation. I loved the Bride of Frankenstein wig and the Monster’s decayed visage suggested that he had only just been dug up. 

There was great attention also to in the costume department which drew inspiration from the original movie. The medical students were perfectly turned out in their white coats although, for some, we were aware of their traditional dresses underneath for the next scene. The ancestors were a wonderfully attired mishmash of historical characters. One small point was that Frederick referred to his shoes as being suede when he arrived at the train station, but they weren't. Overall an excellent costume plot with much attention to detail throughout. 

This was a most light-hearted, monstrously entertaining production from Rush Musical Society which went down a storm with the sold-out audience. I smiled and giggled to myself all the way home. It was a highly entertaining show, with a very strong cast and crew. My biggest takeaway? The incredible resilience and determination shown by cast and crew in continuing their run when faced with crisis. A credit to all involved. Bravo!

Pat McElwain 

Gilbert Adjudicator 2024/2025