Young Frankenstein as presented by St. Agnes Choral Society

Public Adjudication: 

Young Frankenstein as presented by St. Agnes Choral Society: 

Thursday 24th April 2024. 

There’s very little subtlety about the currently very popular new Musical version of Mel Brook’s Young Frankenstein, and it requires a company that isn’t afraid to go for the comedy jugular to show it to its full potential. Thankfully, St. Agnes had a cast who didn’t hold back on the silliness and totally immersed themselves in their characters.

Indeed, Director, Rachel Logan-Fee, did a great job of casting this show, and of making sure that each character had strong and appropriate individuality. She presented good pictures on the stage and used the space well. The chorus were integrated nicely into the action and always with a good sense of purpose. While there was a strong emphasis on the comedy of the show, a few lines were thrown away or not as strongly delivered, and perhaps some of the risqué humour could have been even more exaggerated. Technically, a screen, centre stage, was efficient for projecting location, etc., for the benefit of the audience, and perhaps could have been used more for special effects. The solid set around it was nicely designed and well-painted, but was a little cumbersome, giving Stage Manager, Andy McKnight and his team, quite a task with the scene changes. They managed well, though, working as speedily as they could. 

While most scenes were nicely presented, Frankenstein’s laboratory was disappointing. With the creation of the Monster being the dramatic high point of the show, much more effort is needed to go into making it a spectacular happening. Perhaps a rising platform, with billowing smoke, much more flashing lights, much more electrical equipment, like jump leads attached to the monster, frightening thunder and lightning effects, a dark foreboding atmosphere. Unfortunately, what we got was rather lame and didn’t have that massive impact. Sparks did fly, but they were limited, and the scene was too brightly lit for them to dazzle us. Similarly, the brain-swap between Frankenstein and the Monster needed a bit more creativity and spectacle. Lighting throughout the rest of the show was good and very satisfactory, using nice colour sequences and moving lights. There was also good mood lighting for the more intimate scenes. 

Musical Director, Andrew Robinson, kept very good control of a most capable and accomplished orchestra, with well-dictated rhythms, good mellow tones, when required, and very good balance throughout. With the chorus sounding musically strong and robust in their harmonies, it was evident that good rehearsal had gone into their preparation. The show was musically and vocally most impressive. 

The show opened strongly, with a good energetic rendition of ‘The Happiest Town’, and indeed, Choreographer, Amy Blackshaw, in all of her routines, had a chorus and dancers who made the most of their opportunities to shine. Amy’s best work came in the shape of “Puttin’ on the Ritz”, which was the terpsichorean treat of the show, being stylish, creative and very nicely performed. The chorus were energetic and pretty disciplined in all their dancing and moving, and they contributed good acting and reacting throughout the show. 

Taking the lead as Dr. Frederick Frankenstein, Allen Gordon, looking like a cross between Albert Einstein and Groucho Marx, gave a strong and highly amusing performance, comically struggling to disassociate himself from his family name, but being easily lured back to his roots. His singing and his delivery of lines was articulate and impressive, and he played all his comedic encounters with good timing and expression. I loved his tolerance of his fiancé and his easily manipulated desire for Inga. 

Thomas Martin was a strong physical comedian in the role of Igor, his look and his mannerisms fitting so well with the character. His line delivery was also very good, and he developed his relationship with the Doctor very well. Added to that, was a fine voice and more importantly, an ability to sell his lyrics. 

Michelle Hannaway played the self-absorbed, narcissist, Elizabeth Benning to a T. Her demeanour, her voice and her attitude were all perfectly in keeping with the vanity of her character, and she used them all to great comedic effect. She also knows how to deliver a song, with great expression and quality vocals. ‘Deep Love’ wasn’t just funny, it was filthy, and I… I mean we, as an audience, loved it. 

Sassy and sexy in a much more earthy and unpretentious manner was Lorraine Jackson’s Inga, a titivating tease, ready to fulfil all the doctor’s needs, at work and at play. Lorraine had a great accent, great dance ability, great delivery of her songs, especially her yodelling, and showed no discomfort at all at being the promiscuous, scantily clad eye-candy of the piece. 

And then there was Frau Blúcher, the housekeeper from hell, with evil eyes, a flippant and fearless attitude, and superb comic delivery, as played by Emma Nugent. This was the performance of the show for me, even though I think she had the potential to be even funnier. Some visual gags were missing, and I do think she could have been made-up to be even more comically sinister. Still, she almost stole the show with ‘He Was My Boyfriend’, and her every line brought rapturous laughter from the audience. 

Martin McDowell, had he been given an extra foot of height, would have been perfect as The Monster, for in every other respect, he was excellent. He had a great ability to change his facial expression from sad and pathetic to angry and terrifying, and his grunting and whimpering were delightfully animalistic. His comedic timing was spot on, and he looked superb, thanks to a great costume and fabulous make-up. 

Ditanya McKinty gave a strong character performance as Inspector Kemp, playing her with an almost military, disciplinarian attitude. Secure in her music and her dialogue, perhaps her potential to be more comedic was reduced by omitting the physical gags of prosthetic limbs. 

One always assumes, in the movie, that the Inspector probably lost his arm in an encounter with the original monster, hence his strong desire to get rid of the Frankensteins. Nevertheless, this was a well-played role. 

The only drawback to having a female Hermit, very nicely portrayed by Gemma Duffy, is that it requires Frau Blúcher to switch her sexual preferences from a man (Dr. Victor Von Frankenstein) to a woman, when she excuses herself to go on ‘a blind date’. Regardless of that, Gemma Duffy played her well and delivered her song with good comedy. 

Andrew Johnston made a worthy contribution as Dr. Victor, stepping out of his very effective portrait frame, and Chris Mooney was a guileless and quirky Ziggy, the village idiot who was actually quite smart. 

From a visual perspective, the show was very nice indeed. The villager costumes had the right feel to them and the dance set for Puttin’ on the Ritz were very good, as were the ancestors’ costumes reminiscent of the Addams Family chorus. The principal costumes were 

particularly good, with Elizabeth Benning looking classy and luxurious and Inga looking like she stepped out of a seventies soft-porn video. Frau Blúcher was suitably dour looking, and Inspector Kemp was suitably military. Most outstanding was the great outfit worn by The Monster. I just wish he had been given higher-blocked heels to make him that little bit more imposing. There was good attention to wigs and hairstyles, and the make-up team did a good job, especially with the monster. 

St. Agnes’ should be delighted to have presented such an enjoyable night of entertainment, which only needed more exaggeration and technically enhanced to give it that extra Wow Factor! Thank you to all concerned for a very pleasurable experience.

Peter Kennedy

Gilbert Adjudicator 23/24

Photo Credits: Joe Carberry / Nicola McKee