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'Young Frankenstein' Alive With Laughter |
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Written by Marcia Fulmer
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Wednesday, 25 April 2012 06:23 |
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In 1931, British actor Colin Clive uttered the immortal words “It’s Alive” and brought to life one of the world’s best-known monsters in the now-classic horror film “Frankenstein.”
Actually, as Dr. Henry Frankenstein, Clive uttered those words eight times —and although he was the first, he certainly has not been the last.
 The movie was based on the 1818 book by Mary Shelley. It brought fame and a life-long association, wanted or not, to actor Boris Karloff, who created The Monster (which was NOT named Frankenstein).
In the decades since, countless “sequels” and “re-imagined” versions of the original have been filmed, with probably the best known being “Young Frankenstein,” by Mel Brooks and Gene Wilder, which put a wildly comic face on the story and its characters.
Never one to let sleeping monsters lie, Brooks wrote music and lyrics and teamed with Thomas Meehan on the book to turn the 1974 movie into a theatrical musical. It came to Broadway in 2007 and hit the road in 2009.
Last night ”The New Mel Brooks Musical Young Frankenstein” (its official title) came to Miller Auditorium in Kalamazoo where it will be “alive” for one more performance at 7:30 p.m. this evening.
Being a fan of the Brooks movie (but not of “The Producers,” another Brooks film which he segued into a theatrical musical), I went with few expectations. I was much more than pleasantly surprised!
 This “Young Frankenstein,” although obviously scaled down production-wise from the New York run, is blessed with a super-talented cast that I would bet is every bit as good as the original performers, and most are up there with the movie players.
Heading the gleefully ghoulish group in a beautifully timed performance is A.J. Holmes as Dr. Frederick Frankenstein, (“It is Fronken-steen!!”) grandson of the original monster-maker. Traveling to Transylvania on the death of his grandfather, he leaves behind his untouchable society fiancé Elizabeth (Lexie Dorsett) but finds a strange servant Igor (“That’s Eye-gor”) (Christopher Timson) waiting — at Track 29 in the Transylvania Station —Right! These are the jokes and they come fast and furiously from the wild-haired doctor and the hump-shifting Igor.
Add Inga (Elizabeth Pawloski), a well-endowed medical assistant eager to help the doctor in any way possible, and (cue the horses!) Frau Blucher (Pat Sibley), the housekeeper and girlfriend of the late Victor Frankenstein, and despite Frederick’s protests, the creation of The Monster (Rory Donovan) is inevitable. And he is well worth waiting for, “A.B. Normal” brain, green skin, towering shoes and all.
Of course, the villagers are still rioting, led by Inspector Kemp (Britt Hancock who also plays the blind monk visited by The Monster), whose snappy salute is as mechanical as his determination to rid the town of Frankensteins.
The Brooks score is fast-paced (Holmes’ first song “The Brain” is a true tongue-twister which he spits out with aplomb) and also has some lovely melodies. OK, so the most familiar is by Irving Berlin, but this musical would be sorely lacking if the doctor and The Monster and, indeed, the entire company, did not stop the show with a blisteringly extended tap to “Puttin’ On the Ritz.”
Dorsett has a killer voice (and shape to match). Her rendition of “Don’t Touch Me” is sharply hilarious as is her surrender to “Deep Love.”. Pawloski is equally talented as a singer and dancer. From her introductory “Roll in The Hay” to her slow split on the gurney while telling Frankenstein to “Listen to Your Heart,” she is consistently excellent.
The entire young company consistently delivers, both vocally and in the many ensemble dance numbers for which James Gray recreated the original choreography of Tony Award winner Susan Stroman.
Be aware: There are many many many thunder crashes and lightening flashes throughout “Young Frankenstein” but what would a monster musical be without them.
Tickets are still available for this evening’s performance. I would highly recommend this as a great way to check out the genius of Mel Brooks as interpreted by a really brilliant cast.
And laughing is the best way to start the day — even if it happens at night.
“YOUNG FRANKENSTEIN” plays at 7:30 p.m. today in Miller Auditorium at Western Michigan University off Stadium Drive in Kalamazoo. For tickets, call (269) 387-2300 or (800) 228-9858 or visit www.millerauditorium.com. Prices range from $25 to $55. |
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Last Updated on Wednesday, 02 May 2012 01:11 |
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Written by Marcia Fulmer
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Tuesday, 26 April 2011 17:14 |
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 I have always been a big fan of musicals, especially old musicals and the timeless tunes they introduced. It seems appropriate then that my tune for today is “There’ll Be Some Changes Made.” The title applies specifically to MarciaMarciaMarcia.net which is about to undergo some great changes, thanks to my dear friend (and former Elkhartan) the multi-talented John Brian Quinn! He has taken on the task of turning my website from static and one-dimensional to WOW! Beginning now, not only will there be a spot for reviews, but also for just about anything I can think of that deals with the arts AND a place for anyone to shoot me a question — serious or silly — about any and all things theatrical. Can’t guarantee to find all the right answers, but I guarantee to try. So please enjoy the new me! I know I do!
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Last Updated on Saturday, 30 April 2011 19:18 |
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'Sticks And Bones' Delivers Hard Knocks |
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Written by Marcia Fulmer
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Wednesday, 04 April 2012 02:22 |
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The “average American family” comes in for some harsh knocks in “Sticks and Bones,” the 1971-72 Tony Award-winning play by David Rabe which opened Friday evening in South Bend Civic Theatre’s Warner Studio Theatre.
Billed as a “black comedy” and directed by one of the area’s finest, Scott Jackson, it is more black than comic and definitely not what you would call a “fun” evening.
 It’s aim, however, is to make the viewer think and in that, even 40 years later, it certainly succeeds. One of a trilogy of plays about the Vietnam War by Rabe, a Vietnam veteran, it looks (no pun intended) at the homecoming of a blind vet, the reaction of his family and, conversely, his reaction to their expectations of his returning quickly to a “normal” life
A glance at the program, which lists the primary characters as Ozzie, Harriet, David and Ricky, is the first clue to Rabe’s juxtaposition of the popular 1950-60’s TV show, touted as America’s first “reality” sitcom, with the darkly real situations faced by Vietnam veterans
Ozzie (Paul J. Hanft) and Harriet (Melissa Gard) are anxiously awaiting the arrival of David (an excellent Jason L. Clark) escorted by a Sgt.Major (Charlie Florance) whose brusque manner is less than empathetic and who hurries off to make more“deliveries.”
Harriet hovers, offering cookies and coke; Ozzie is eager to make sure his own work on tanks, trucks and jeeps is acknowledged as a part of the war effort; younger brother Ricky (Richard Isaacson) breezes through, guitar in hand and camera ready to catch the family group smiling, not an easy task
 Father Donald (Brad Mazick) avoids being part of the initial welcoming committee but returns to attempt a violently unsuccessful reconversion of the bitter David. Behind his reflective glasses, David sees images of the war, especially a young Vietnamese girl, Zung (Amorena Ruffolo), with whom he was involved and who was a victim of the conflict. There is no doubt that while David’s eyes are blind, his family is afflicted with a much deadlier form of darkness as their prejudice and bigotry are peeled away.
To underscore the glossy façade of the era, Jackson uses clips of the commercials of the day — Pepto-Bismol, Kodak, Listerine, etc — which certainly set the time but interrupt the flow of the action. And a laugh track in certain spots was more puzzling than necessary.
“Sticks and Bones” is not a pleasant evening of theater, but it brings home sharply lessons that unfortunately still need to be learned.
“STICKS AND BONES” plays at 7:30 p.m. today and Thursday and 8 p.m. Friday and Saturday in the theater at 403 N. Main St. South Bend. For reservations and information, call 234-1112 or visit www.sbct.org |
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Last Updated on Wednesday, 04 April 2012 02:50 |
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'Jersey Boys' Still The Best of Broadway |
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Written by Marcia Fulmer
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Tuesday, 27 March 2012 16:56 |
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I always love it when I go to the theater with really high expectations and 2 ½ hours later find that they have been exceeded.
Last week, this happened. Actually I should say it happened — again.
 The mega-hit musical “Jersey Boys” opened Tuesday evening in Miller Auditorium on the campus of Western Michigan University in Kalamazoo where it will play through April 1.
I say again because Wednesday’s media night performance was the fifth time I have had the pleasure of seeing — and hearing — the story of Frankie Valli and The Four Seasons. I have no problem admitting that it is still my very favorite feel-good musical. And that has nothing to do with the fact that I am — and always will be — a very proud Jersey Girl, although I guess that should be Jersey Senior.
Whatever, It makes no difference your age or place of origin, I dare anyone to sit through this production and hear this music and not have to fight the urge to sing along, clap (in rhythm) and even, at the stops-all-out finale, jump up and move with the boys! This is no “jukebox musical” rather a musical biography which follows highs and lows of four kids from Jersey who found their sound and became one of the hottest musical groups of the 60s. And every scene is loaded with their familiar hits.
I must admit that I knew “Jersey Boys” would be a super hit before it went to Broadway. My first look (and listen) was in the summer of 2004 during its explosive “maiden voyage” at the La Jolla (CA) Playhouse where the run had been extended three times. I saw it again in 2005 in New York (where it is still among the top five grossing shows) and twice during its initial run in Chicago. Every time, even though by number five there weree no surprises, it made me want to stand and cheer.
Whatever is the magic of “Jersey Boys” — the fast-moving book by Marshall Brickman and Rick Elice or the old/new songs by Bob Gaudio and Bob Crewe or THAT SOUND which every combination of stage Seasons manages to make a spot-on recreation of the originals — that magic is alive and well in the excellent cast, orchestra and crew of the second national tour.
Whether you are familiar with the sound of the Four Seasons and of Frankie Valli, it doesn’t make any difference. The high energy entertainment jumps across the footlights from the opening notes of “Oh What A Night” sung in French where the song is at the top of the modern charts. Tommy DeVito (Colby Foytik) steps into the spotlight to begin the history which started on a street corner in Belleville New Jersey. As the narrative unfolds, he shares the narration with Nick Massi Brandon Andrus), Bob Gaudio (Jason Kappus) and Frankie (Brad Weinstock) as they go through the seasons of their on and off-stage relationships.
 The razor-sharp choreography keeps the energy high as does the intensity of the performances, dramatically and vocally. With the exception Barry Anderson who plays Bob Crewe, Four Seasons’ producer and lyricist with composer Gaudio, every member of the talented cast plays numerous roles quickly and believably and without missing a step or a note or a costume-and-wig change, The three ladies of the ensemble — Natalie Gallo, Ruby Lewis,and Kaleigh Cronin — work non-stop throughout, singing, dancing and portraying the various females who moved in and out of the quartet’s lives. Thomas Fiscella is appropriately ominous as a mobster but switches convincingly to other characters throughout.
The topping on this Italian banquet is the set, complete with steel walkway and stairs, moving bandstand and large pop-art style comic strip art. As the settings change from the street to a recording studio to a TV show to various clubs, the moves are made with silent precision, allowing the story to advance quickly. And the lighting and special effects put the emphasis where it belongs.
This is an Equity production so it makes no attempt to cut costs by down-grading talent or production values. What is on stage in Miller is what you will see in New York or in Chicago when this tour sets down in the Windy City next month for its third run.
The only difference is in the price of tickets. Miller, which is a wonderful auditorium, easily accessible, with a great sound system and comfortable seats, is drastically lower at all levels.
If you want to see these “Jersey Boys,” it’s time to head to Kalamazoo.
“JERSEY BOYS” plays through Sunday in Miller Auditorium on the campus of Western Michigan University off Stadium Drive in Kalamazoo. For times and reservations, call (269) 387-2300 or 1 (800) 228-9858 or visit www.millerauditorium.com |
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Last Updated on Thursday, 29 March 2012 02:14 |
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First on Broadway in 1958, the Jule Styne, Stephen Sondheim, Arthur Laurents work starred Ethel Merman as the prototype stage mother who drove her children to stardom whether they wanted it or not. “Gypsy” has returned to Broadway four times since the original, with the role of Mama Rose interpreted by Tyne Daly, Angela Lansbury, Bernadette Peters and Patti Lupone. The 1962 film miscast Rosalind Russell as the dragon matriarch and Bette Midler was equally unsuitable in the 1993 TV production.
The orchestra, which is still the part of a musical production for which there is no viable place in this auditorium, sat above the stage and was visible almost throughout, with attire being obviously individual choice. It was blaringly intrusive and seemed to function on the theory that it was there to drown out the singers rather than support and accompany them.