Young Frankenstein
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https://www.theatreworks.org.au/young-frankenstein
Date Reviewed: 10/10/2026
Colour is the first thing that hits you. Mel Brooks’ 1974 film kept its monster-movie world in black and white, but director Christian Cavallo’s Theatre Works musical production of Young Frankenstein gives Transylvania a vivid, technicolour glow.
Jason Bovaird’s beautifully judged lighting shifts from rain and danger to musical sparkle conjuring vintage showbiz, working in tandem with a set that moves with the confidence of a creature that’s just discovered it can walk. Actors pop out of arched windows, a stairway leads up and down through the laboratory, and the castle seems to have more secret entrances than questionable family history.
The story is an affectionate pastiche and homage to Mel Brooks' original. Dr Frederick Frankenstein, grandson of Mary Shelley’s famed doctor, inherits the Transylvanian castle, discovers his grandfather’s experiments and tries to rekindle the spark of life in a new monster. Naturally, science gets a little out of hand. "Are you saying that I put the brain of Abby… someone… Abby Normal?" Dr Frankenstein asks after eager Igor uses Abby Normal to describe the abnormal brain he stole for the monster. (Fun fact, one of the most famous popular Finnish rock bands Eppu Normaali took their name from that line).
The show has a delicious old-Hollywood feel: broad characters, big dance numbers and tap dancing. Yes, tap dancing to “Puttin’ on the Ritz”. Who taps these days? Apparently, the people of Transylvania, and we’re very glad they do.
Claire Robinson’s choreography is nimble, sharply timed and performed with infectious commitment. The showstoppers include “The Transylvania Mania”, “He Vas My Boyfriend” and the iconic “Puttin’ on the Ritz”: mad science turned into musical magic. Silly and over the top, this is a love letter to old-school horror, vintage showbiz and the perfectly timed punchline.
The cast throws itself into the comedy. Josh Direen gives Dr Frederick an earnest, increasingly flustered anchor, while Joti Van Carlos Gore’s Monster is less terrifying than lovable: a big, unruly ogre you can’t help rooting for. Juliet Nicholson’s Inga is bright and buoyant, with the glow of a classic musical heroine. Belinda Jenkins is terrific as Frau Blücher: strong, assured and wonderfully engaging. From the front row, we were right in the line of fire. When she decided that “the lady doesn’t look like she wants to come up”, I thought: “Phew”. Phew for her too as I was not going anywhere.
The Blind Hermit’s whistle in “Please Send Me Someone” bring a softer moment to the mayhem, and a nod to Gene Hackman’s memorable blind-man cameo in the original film. Shannon Foley and Joti’s comic timing in the scene is uproarious. Hackman reportedly asked for his small role because he wanted to try comedy, and he set the bar high with Shannon and Joti doing it justice.
The intimate stage makes this production a real treat. It has Broadway-sized energy, but you’re close enough to catch every raised eyebrow, and inhale the perfume as Elizabeth’s pink entourage sweeps into Transylvania.
Yet the true genius of the evening revealed itself in an unscripted moment of theatrical alchemy, though Cavallo gave the audience a candid preview warning: “A preview is our opportunity to keep rehearsing the show with an audience presence.” If “you see elements that feel like they’re still coming together, you’re probably right,” he said, adding that previews let you “see the show for cheap”.
And just as I was thinking I couldn’t spot the flaws, part of the set needed fastening in Act Two. Then came a “Stop”, followed by, “Take it from where Igor says ‘Sleep’.”
In any other production, a mid-scene halt might kill the momentum, but here, it felt aligned with the source material and for a moment we wondered if it were part of the show.
After all, Frankenstein’s monster was never born pristine, he was stitched together, bolt by bolt from imperfect parts. Watching the cast pause, reset, and immediately reignite their performance was a backstage glimpse into the making of the performance.
As crew efficiently put together the bolts, the pause revealed that it was Claire’s birthday, and we were told we’d be singing “Happy Birthday” at some point too. Very generous of the monster’s laboratory.
The preview may have had a few literal loose bolts, but the performances never lost their spark. This was clearly one of the best shows I’ve seen recently: affectionate, gloriously silly and very much alive. It deserved a standing ovation, but our stiff backs, sadly, voted an arthritic “no”.
(And Theatre Works, we love you, but please do something about those uncomfortable seats).
Highlights
- The whole cast performs beautifully, with a special shout-out to Belinda Jenkins as Frau Blücher.
- The detailed direction: look out for the horses eating carrots and the trees moving as carriages speed through.
- Tap-along musical numbers—and choreography that makes them a joy to watch.
- Lighting that becomes another character in the show.
- A mobile set full of surprises, including a halt to the performance during Preview night.
- Happy Birthday Claire!
Suggestion
Keep the Preview 'mishap', we enjoyed the back-stage glimpse and your improvisation.
Who should see it?
Fans of Mel Brooks, classic horror parodies and comedy-driven musical theatre. It’s also a treat for anyone who loves big musical numbers, silly performances and being close enough to catch every expression.
Reviewed by Mary Sinanidis