Capturing the zany Mel Brooks sensibility, StageBugs Productions earn abundant laughs with their deliciously daffy production of Young Frankenstein. 

The overblown 2007 Broadway premiere season Young Frankenstein proved unable to capture the zeitgeist of mega-hit Mel Brooks stage adaptation The Producers. More successful was the reduced and revised West End 2017 production of Young Frankenstein, upon which this staging is based. Smaller again here, the musical is actually very well served by the independent theatre-scale budget, tying in perfectly to the self-aware parody of schlocky early Hollywood horror films. 

The musical is a solid crowd pleaser, in particular in the way it breezes swiftly from song to wacky song, with some boffo production numbers along the way. It could be argued that some of the sexism and mental ableism are in poor taste, but, as quoted In the program, Mel Brooks’ humour relies on the basis that “Good taste is the enemy of comedy.”

Brooks’ 1974 film Young Frankenstein may actually be little known to the present day audience, but that just means that the laughs land afresh. The plot is a clever reworking of Mary Shelley’s Frankenstein, updated for the next generation of the Frankenstein lineage. Young Frederick Frankenstein is doomed to make all the same errors as his infamous grandfather Victor, this time aided by humpbacked Igor, golden Swede Inga, and terrifying housekeeper Frau Blucher (commitment to the gag that Frau Blucher’s name spooks the horses is absolute).

Director Christian Cavallo shows a sure hand in having the full company of 15 working with a uniform manic energy and madcap comic style, resulting in a continuous stream of laughs. It is certainly hard to find any aspect of the humour in questionable taste when it is all presented as such frothy fun. The relatively intimate setting further serves the audience connection to the characters and the visible moving of the sets ties into the wonky production values being lampooned. 

Perfectly complementing Cavallo’s direction, choreographer Claire Robinson neatly continues the comic vibe into the dance with witty, well rehearsed choreography. Production numbers such as “Please Don’t Touch Me,” “Transylvania Mania,” and “Puttin’ On the Ritz” each have a true-show stopping vibrancy that elevates the overall quality of the production.

The larger performance space at Theatre Works is a step up for StageBugs Productions and they utilise the space well with a solidly designed and constructed set by Damian Jones. To progress to the next level, the company must address the budgetary / space concerns so as to have a live band of musicians accompanying the performances.

Lighting designer Jason Bovaird provides abundant spectacle with dazzling moving lights, contributing some spooky effects along the way and ramping up the climactic performance of “Puttin’ On the Ritz” by adding extra sparkle to the tinsel curtain backdrop. 

Designing costumes, hair, and wigs, Britni Leslie brings a wonderfully retro aesthetic, delivering a lavish number of costumes and wigs, all of which add to the comedy and visually support the schlocky style. 

Leading the company as Dr Frederick Frankenstein, Josh Direen is a terrific straight man, singing the role with flair and amusingly conveying Frankenstein’s gradual unravelling in response to the mania surrounding him. 

Of the supporting leads, Belinda Jenkin is a standout with her razor sharp characterisation of off-kilter housekeeper Frau Blucher. 

Britni Leslie perfectly captures the vacuous glamour of prim socialite Elizabeth Benning. Juliet Nicholson is delightfully daffy as ingenuous Inga. 

Joti Gore brings understated compassion and hulking physicality to The Monster, working towards a terrific payoff in his performance once the brain transference has been completed.

Alexander Glenk brings out the quirky enthusiasm of sidekick Igor. Glenk’s Transylvanian accent may often lapse into Australian, but his skilful physicality is a true asset to the role. Shannon Foley impresses in the dual roles of Inspector Kemp and the Hermit, the latter of which sees Foley adopt a hilarious lisping whistle for yearning ballad “Someone.”

Special mention to Oliver Palamara for his fabulous tap work opposite Gore in the dance break of “Puttin’ On the Ritz.”

Young Frankenstein has an escapist, guilty pleasure vibe that makes it crowd-pleasing fun. Neglected by local commercial producers, this season by independent producers StageBugs Productions is terrific entertainment. 

Young Frankenstein plays at Theatre Works, St Kilda until 24 October 2026. For tickets, click here.

The Young Frankenstein program can be read online. 

Photos: Matthew Chen