Puttin’ On the Ritz

Young Frankenstein

Mercury Theater Chicago closes its 2023 season with an explosion of talent, music and comedy. With each new production, Artistic Director Christopher Chase Carter has upped the ante at his theater and presented some of the Windy City’s finest talent. The productions have ranged from the motivational “Lady Day at Emerson’s Bar & Grill;” to the touching and educational “Big River;” and the always highly entertaining, such as “Clue.” This demonically driving production of “Young Frankenstein” is one of Mercury Theater’s finest, to date. To quote Irving Berlin catchy classic that  highlights this production, L. Walter Stearns’ cast and artistic team most definitely pulls out all the stops and are truly “Puttin’ On the Ritz.”

Back in 2001, Mel Brooks attempted his first theatrical adaptation of one of his own popular films. His production of “The Producers,” which had its pre-Broadway tryout in Chicago, turned out to be a huge hit. It went to Broadway, where its popularity was almost unprecedented. The production set box office records and swept the Tony Awards that year. Hoping to recapture the same success by adapting another of his cinematic comedies, Mel Brooks opened “Young Frankenstein” six years later. Often funny, the production certainly offered a stellar cast, a handful of amusing songs, and staging that was filled with eye-popping sets and special effects. However, the musical just didn’t live up to the wild popularity of Brooks’ earlier success. 

“Young Frankenstein” is filled with Mel Brooks’ typical bawdy, lowbrow humor, double entendres and groan-producing puns. And while I’ve seen many productions of this show, I can guarantee that Mercury Theater Chicago’s production is possibly the finest in memory. It’s truly an hilarious, laugh-a-minute evening at the theatre. Director L. Walter Stearns’ production is flashy, yet modest. It doesn’t try to over-extend itself with gimmicks, yet it oozes with broad comedy and a bit of off-kilter charm. For fans of the film, the evening is sheer ecstasy. Seeing the movie’s beloved characters come to life on stage and having the story fleshed out with 20 song-and-dance numbers is a delight. The show still feels a little too long, the songs aren’t all gems (although several are very funny and even melodically pleasing) and some of the jokes sometimes don’t quite land, but this Windy City production is a winning wingding of wonderfulness.

The creatives behind this production are the talented triumvirate that includes adept director L. Walter Stearns, master musical director Eugene Dizon and creative choreographer Brenda Didier. These three brilliant artists have a long history of working together and their innovative inventiveness has never been stronger. Kudos, too, to a great live backstage band of musicians who bring Brooks’ score to life. And melding flawlessly with Stearns’ whimsical staging, Ms. Didier’s dance moves, which are executed with excellence by a gifted cast of triple-threats, are fierce and plenty of fun.

Every time I think I’ve seen Chicago actor Sean Fortunato do his best work, I’m continually gobsmacked by another Broadway caliber performance. The multitalented actor has dazzled audiences in such diverse roles as Applegate, in Marriott’s “Damn Yankees,” Malvolio in Writers’ “Twelfth Night” and as Miss Trunchbull in Drury Lane’s “Matilda.” But Sean positively owns the stage as Dr. Frederick Frankenstein. His comedy sparkles, his smooth vocals fill the theater and his charm and charisma easily radiate into the house over the lantern-like footlights. Do not miss this gifted actor’s exciting performance!

He’s supported by a very likable cast of equally accomplished actor/singer/dancers. Handsome Andrew MacNaughton returns to Mercury Theater after his great performance in “Clue.” For this role, Andrew dons the green makeup and platform shoes as a truly lovable (and a bit frightening) Monster. This accomplished young performer teams with Fortunato to bedazzle the audience with their classy, show-stopping, “Puttin’ On the Ritz.” Then they’re joined by the entire cast, all singing and tapping their toes off. It’s the moment we’re waiting for and, thanks to this talented ensemble and Ms. Didier’s superb choreography, we’re not disappointed.

But wait—there’s more! The always enchanting, coquettish and lovely gifted singer and comedian, Lillian Castillo makes her noteworthy Mercury Theater debut with a performance that practically steals the show. She plays Elizabeth Benning, Dr. Frankenstein’s coy fiancee, and brings the house down with every line, lyric and gesture. Her performances of numbers like “Please Don’t Touch Me” and especially, “Deep Love,” will stay with theatergoers long after the final curtain. The ubiquitous Mary Robin Roth, a favorite at Music Theater Works, is droll, dramatic and hilarious as the mirthless Germanic housekeeper, Frau Blucher (cue the horses whinnying). This was the role in the film made famous by the wonderful, late Cloris Leachman. With her shrewd comic timing, her huge voice and deadpan demeanor, Ms. Roth is an absolute delight. Her rendition of “He Vas My Boyfriend” is filled with unbridled angst and passion. Isabella Andrews does a nice job as Dr. Frankenstein’s sexy, new lab assistant, Inga. Her delightful “Roll in the Hay” is both fun and festive. 

A talented actor who’s been seen on almost every Chicago stage, handsome Ryan Stajmiger is a scene-stealer as Igor. Costumed with an ever-moving hump on his back, Mr. Stajmiger sings, dances and milks every comic line and offbeat moment for all its worth. His character’s 11th hour reveal makes his devotion to Dr. Frankenstein understandable. Jonah D. Wintston, another brilliant comedian and singer, was adored in Mercury Theater’s excellent production of “Clue.” Here he portrays Transylvanian Inspector Hans Kemp, the adversarial  town official with a mechanical arm and leg. In this role, Mr. Winston really gets to display his gift for physical humor. And standing in for Sam Shankman, still recovering from an illness, is talented understudy Callan Roberts, as the Hermit. The array of sight gags executed by this blind character run amuck as he interacts innocently with The Monster. Mr. Roberts leaves the audience breathless with laughter.        

Mercury’s production is definitely a bonafide hit. Featuring an adaptable scenic design by Bob Knuth, eerie lighting by G. “Max” Maxin IV and a superb sound design created exclusively by Kurt Snieckus, the Mercury stage effortlessly transforms from an American lecture hall to an eastern European  castle. Costume designer Rachel Boylan has a knack for creating the most colorful and appropriate wardrobe for her actors, complemented here by Tommy Novak’s makeup designs and Keith Ryan’s beautiful wigs. 

This energetic, highly entertaining musical, with a clever and capable chorus of character actors, provides an enjoyable evening that’s especially perfect for audiences during the Halloween season. The show is made for the theatergoer who enjoys Mel Brooks’ adult humor and comes to this show knowing what to expect. It’s a production that, in every way, absolutely Puts On the Ritz!  

Highly Recommended

Reviewed by Colin Douglas

Presented October 13-December 31 by Mercury Theater Chicago, 3745 N. Southport Ave. Chicago.

Tickets are available in person at the box office or by going to www.mercurytheaterchicago.com. 

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.