"Reanimated Laughter: A Hilarious Journey with 'Young Frankenstein' at Bridge Players Theatre"
by Mike McKeon
WHAT A SHOW!!! I don’t know about anyone else, but all this cold weather blended with some seasonal depression has had me a little blue lately. I have been in desperate need of comedic relief. Well, Bridge Players Theatre’s production of “Young Frankenstein” is exactly what the doctor… Excuse me, what Dr. Frank-N-Steen ordered. I was given the opportunity to attend The Bridge Players Theatre at Broad Street Methodist Church, nestled in Historic Burlington City, NJ, on their opening night production of “Young Frankenstein” by Mel Brooks.
The production takes place in the church’s recreational area which upon entrance seems stereotypical. However, once you are seated it becomes obvious this venue takes theatre very seriously. After observing the professional theatrical lighting system, you can see a live band preparing in the orchestra section of the room. The band consists of: Conductor Jim Sheffer; Violin Karen Kessler; Reed 1 & 2, Steve Zimmerman & Dave Atkinson (Respectfully); Trumpets John Clark, Rob Ziccardi, Jeffrey Lesser; Trombone Zach Holzmann; Keyboard Lee Milhous; Bass Dave Kaplan; & Drums Derrick Banks.
It is fitting that the band is one of the first things you see, because from start to finish they supported the whole production amazingly. Not only was the music great for setting every scene, but the timing of instruments with physical/prop humor on stage was perfect. Also, during scene changes that may have taken a little longer due to larger set pieces, the band continued to play, maintaining the mood and keeping the whole production more entertaining. I give every member a standing ovation.
The show starts with the fun first musical number “The Brain” including the ensemble composed of; Ellorah Maeve, Artemis de Groot, Hannah Lee DeFrates, Jackie Reinhart, Amber Stolarski, Celeste Bonfanti, Dominic Gullo, Nina Linger, Evan Long, Kasey Lynd, Felix Ramos, Jeff Rife, & Kori Rife, along with Dr Fredrick Frankenstein (Zach Martin). Vocal Directed by Peg Smith, the ensemble successfully and beautifully through song, helped tell Dr. Frankenstein’s story. Martin’s wacky energy combined with his iconic wild hair, prepare you for the great fit he proves to be in this role. Martin navigates fast-paced dialogue with a large scientific vocabulary quite well over the entire musical.
Straight away it is clear that choreography would be a big part of the show. Choreographer Lisa Croce did an amazing job actively including many members of the cast for most major songs, including almost every cast member during any scene including the “Angry Mob”. Of all the musical numbers, I think “Putting on the Ritz” was my personal favorite of the night. As the show progressed, the audience was able to enjoy everything from Tap Dancing, Ballroom, and Classic Theatrical dance, which is no small feat.
After the opening musical number, Dr. Frankenstein is compelled to travel to Transylvania. While boarding the train we are introduced to the Doctor’s breathtakingly beautiful fiance Elizabeth (Dana Masterman Weiss). However, the fiance’s beauty is promptly entombed by her egocentric temperament, which Masterman portrays perfectly. Almost even making you feel sympathy for the foolish Doctor’s blind love toward her. Masterman showcases her true vocal abilities and even makes you change your opinion of her character during the second act, where we meet The Monster (Steve Phillips). Phillips filled the shoes of the Monster with both physical stature and performance ability. Between timely grunts, hilarious tap dancing and the physicality of his performance, Phillips could not have been better for the role. After an entertaining farewell, we find Dr. Frankenstein on a new train platform waiting anxiously. When he is startled by a very amusing entrance from his companion Igor (Ryan Lynd) pronounced “Eye-Gore”. Lynd’s use of physical humor for Igor provides the audience with countless fits of laughter throughout the night. Between the strong accent, moving back hump, and debilitating limp, Lynd’s commitment to the undertaking of this role was very recognizable. The relationship between Lynd and Martin builds as the show progresses making it clear why director Edwin Howard chose this pair.
Once at the castle, we are introduced to the lustful Inga (Aubrey Colbert) and the intimidating Frau Blucher (Dani Costello). However, with Costello’s fantastic comedic timing and wonderful vocals, you forget about her character's tough exterior and develop a love for her. Colbert on the other hand grabs the audience's, and Martin’s, attention more immediately with physical tactics exactly as Mel Brooks originally intended. The cast uses costume changes and specific directing to depict this in the show. The costumes from Jackie Reinhart & Mary Kay Hansen were nothing short of awesome! There were multiple costume changes, not only for the main cast but the ensemble as well. The various costume changes were quick, well-tailored, and consistent for each scene keeping the story moving smoothly.
Another impressive part of the show was the intimacy direction, which included somewhat bawdy material more appropriately, as well as fight choreography for the performer's safety and authenticity. Fight/intimacy Director Terri J. McIntyre did a wonderful job ensuring that element was provided to this production of “Young Frankenstein”. McIntyre’s direction was important in several scenes during the show. The story begins to come together though, as the antagonist Inspector Kemp (Tim Kirk) is introduced. Kirk also uses his physical humor to his advantage while leading his angry mob slowly closer to the monster. One of the last characters we meet is the Blind Hermet (Edward Doyle), whom the Monster comically finds later in the show. Doyle does a great job of making sure the laughs don’t stop. Although his role is quick, his presence on stage is entertaining.
Another reason you don’t want to miss “Young Frankenstein” is the stage/set. Starting with great lighting and sound provided by Audio Tech Kris Kauker and Lighting Designer Bob Beaucheane. Set Construction and Design by Jim Frazier with Ken Kauker & Kris Kauker was very creative, using large set pieces and clever signs to signify changes in location and settings. Considering the large set pieces, scene changes required some extra muscle and planning. Nevertheless, Stage Manager Regina Deavitt, Stage Crew Ken Kauker & Damon Strothers, Director Edwin Howard and Producer Lindsey Kilchesty, along with a few performers in the wings, could not have done a better job working together to ensure everything was safely in its place on stage.
Next is my favorite part, going hand in hand with set design…. Props. The combination of the set design with the props added to what brought this show alive. Secret entrances, horse-drawn wagons, and a full lab capable of reanimating human tissue are just a few examples of the props/set pieces enjoyed during the show. Good use of props is always important in any show, not only for entertainment but also to ensure the performers have a tool to help the audience comprehend what is happening on stage. Bridge Players achieved just that with great props and great casting. Members of the cast used these multiple props at every opportunity to create hilarious moments on stage. I wasn’t aware of a single joke that was missed due to the great use of props and timing.
“Young Frankenstein” was such a fun night out and I urge everyone reading this to go get your dose of medicine from Dr. Frank-N-Steen at Bridge Players Theatre in my hometown of Burlington City. Go Blue Devils! It is a very refreshing and much-needed comedy in these chilly times. Performances run now through February 22, you can purchase tickets here: https://www.bridgeplayerstheatre.com/tickets
