Based on the beloved 1974 Mel Brooks film, Young Frankenstein: The Musical is a hilarious combination of classic horror, outrageous comedy, and unforgettable musical numbers.

The story follows Dr. Frederick Frankenstein (Mason Thorman) (pronounced “Fronkensteen”), a brilliant young scientist desperate to distance himself from the infamous legacy of his grandfather, Dr. Victor Frankenstein. However, when Frederick inherits his family's castle in Transylvania, he finds himself drawn into the very experiments he once dismissed as madness.

With the help of his hunchbacked assistant Igor (Paddie Patterson), the beautiful and enthusiastic Inga (Victoria Tiger), and the mysterious housekeeper Frau Blucher (Niki Hall), Frederick soon discovers his grandfather's secret laboratory. Before long, scientific curiosity gets the better of him, and he sets out to accomplish the impossible: bringing the dead back to life.

Naturally, things don't go quite according to plan.

What follows is a wildly entertaining adventure filled with mistaken identities, questionable scientific decisions, romantic complications, suspicious villagers, and a Monster who proves there's more to life than simply being alive.

Featuring music and lyrics by Mel Brooks, Young Frankenstein brings the iconic film to the stage with catchy musical numbers, clever wordplay, physical comedy, and plenty of ridiculous moments.

Stage & Set Design:

When I first walked into the theatre, I was greeted by an already open curtain, giving me a good look at the opening set design. A large white backdrop screen displayed a projection of your stereotypical “spooky” castle perched atop a small hill. Along the sides of the stage were four rolling set pieces, each featuring beautifully painted scenery that made you feel as though you had been transported back to the European countryside of old.

Throughout the play, the set changes… a lot. And I mean a lot.

Unfortunately, the projector experienced some technical difficulties during this particular run and couldn't be used for the entirety of the performance. This left a plain white backdrop during several scenes, making it fairly easy to see what was happening backstage. While it was a little distracting, this is exactly why dress rehearsals exist: to find the bugs and work them out before opening night.

The set changes themselves were another issue. Many of them took quite a bit of time and, at times, appeared to be uncoordinated chaos. During one particular change, there was a lengthy pause as two set pieces were being moved through the same area. Neither could fit past the other, and neither seemed particularly interested in backing up to let the other through. It was almost like watching two stubborn drivers meet on a one-lane road. That being said, there were some set pieces that genuinely impressed me.

One of my favorites was a set of detachable, turning stairs. While they required a little extra time to lock into place and unlock for removal, the design and functionality were impressive nonetheless. It's the kind of creative construction that makes you appreciate the work happening behind the scenes.

Another standout was a multipurpose platform that served as both a wagon and the laboratory table. It featured an interesting design involving what appeared to be air-filled balls or airbags underneath, giving the platform a bouncing effect. During the musical number “Roll in the Hay,” this added another layer of comedy to an already hilarious scene. Sometimes the simplest mechanical ideas can make a big difference in how a joke lands.

There was also a stationary spiral staircase used in several scenes that looked fantastic and really helped establish the atmosphere the production was going for.

Add to that the beautifully painted castle and dungeon interiors, a spinning bookcase that worked perfectly despite its relatively simple design, and numerous smaller props that helped bring each environment to life, and it's clear that a tremendous amount of time and effort went into creating Castle Frankenstein. However, I do have one major critique of the overall set design: the stage felt crowded.

In several scenes, particularly those involving large groups of villagers, there was so little room that ensemble members were practically shuffling around one another just to move. I understand that working with limited stage space presents its own challenges, especially in a production with this many moving parts, but the lack of room became noticeable during the larger musical numbers.

When you have that many performers dancing in such a confined area, it becomes difficult to fully appreciate the choreography. The performers in the front have room to extend their arms and complete their movements, while those in the middle and back are forced to shorten their steps, pull in their arms, and adjust their movements to avoid hitting someone. At times, this made the choreography appear out of sync, even though the issue seemed to be more about the available space than the performers themselves.

Overall, the set design featured some genuinely impressive craftsmanship, clever engineering, and beautifully painted scenery. There was clearly a lot of creativity and hard work poured into bringing this world to life. While the lengthy transitions, technical difficulties, and limited stage space occasionally took away from the experience, there was still plenty to appreciate.

Castle Frankenstein may have been a little cramped, but there was certainly no shortage of imagination put into building it.

Frederick Frankenstein (Mason Thorman):

I've had the pleasure of watching Mason perform at the West End Theatre since he was just a child. Even back then, he was impressive in every production he was a part of. But this role? This production? It feels like it was made specifically for him.

When we interviewed Mason for SOS: Behind the Curtain, I found myself still trying to figure out exactly who his version of Dr. Frankenstein was going to be. Don't get me wrong, he did a great job with the interview, but I wasn't quite seeing the character yet. It didn't fully feel like he was Dr. Frankenstein. And then I saw him on stage. What a difference a costume, a set, and a little theatrical magic can make.

The moment Mason steps onto that stage, fully dressed and surrounded by the wonderfully crafted world of Castle Frankenstein, something changes. His eyes light up, his energy shifts, and suddenly, there he is. Dr. Frederick Frankenstein has come to life. And once he's there, he doesn't let up.

His wordplay, timing, and pronunciation were nothing short of incredible. During the musical number “The Brain,” Mason was delivering lyrics at a pace and with a precision that would make Eminem proud. Seriously, I was thoroughly impressed. The speed, the clarity, and the ability to make every word understandable while staying completely in character is no small accomplishment. But Mason brings so much more to the role than just his vocal abilities.

His physical comedy is fantastic. Every movement, every facial expression, and every little reaction feels intentional. He has an excellent understanding of where he needs to be on stage and how to use the space around him. And when something doesn't go quite according to plan, he has that wonderful ability to ad-lib, roll with the mistake, and make it feel like it was supposed to happen all along. That's a skill you can't always teach.

Mason doesn't just play the lead character in this production. He anchors the entire show. His energy carries from scene to scene, and his confidence on stage gives the rest of the cast something solid to work around. It's easy to see why West End Theatre has trusted him with so many roles over the years, especially one as demanding as this.

I've watched Mason grow as a performer for years, and it's been a pleasure seeing what he's capable of. But I think this performance takes him to another level. I've enjoyed just about everything I've seen him do on that stage, but I can say with confidence that this is probably my favorite performance of his yet. And considering how long I've been watching him perform, that's saying something

Igor (Paddie Patterson):

Paddie is still a relatively new face at West End Theatre. While he hasn't appeared in many productions here just yet, he brings with him an extensive acting background from other theatres he's worked with over the years. I had the pleasure of working very closely with him during Legally Blonde: The Musical, and I can tell you firsthand that this man brings an incredible amount of energy to everything he does. His high-energy, eccentric, and genuinely joyous personality is contagious. He has this ability to radiate enthusiasm to everyone around him, and it's almost impossible not to feed off that energy. Whether you're sharing the stage with him or simply watching him perform, you can't help but get caught up in it. And let me tell you, that energy was put to excellent use in his portrayal of Igor.

Paddie's performance was absolutely spot on. He took the Igor we've all come to know and love, molded the character around his own personality and acting style, and created something that felt both familiar and completely new. It was a version of Igor that I instantly fell in love with.

What impressed me most was just how much of himself he put into the role. Every movement, every facial expression, and every strange little mannerism helped bring the character to life. But believe it or not, my favorite part of his entire performance was his hands. Yes, his hands.

It's such a small detail, but one that made a huge difference. Whenever Igor pointed at something, gestured while speaking, or really made any movement at all, his fingers would stretch outward, almost unnaturally so. They appeared strained, trembling and shaking as he spoke. It was as though his hands were telling their own story, adding an extra layer of intensity and personality to every word that came out of his mouth. And then there's the crouching. Good Lord, the crouching.

I can't imagine how uncomfortable it must be to spend that much time hunched over, shuffling around the stage, and contorting your body into those awkward positions. My back hurts just thinking about it. But without that physical commitment, he simply wouldn't be Igor. It's those little details, maintained throughout an entire performance, that really show the dedication Paddie put into this character. He also proved that he can ad-lib with the best of them.

At one point during the show, Mason accidentally knocked over some props. Before the moment could even become awkward, Paddie jumped in with a perfectly timed, in-character response. He didn't miss a beat. It was exactly the kind of thing Igor would have said or done, and if you hadn't seen the accident happen, you might have thought the whole thing was scripted.

That's one of the things I love most about live theatre. Things go wrong. Props fall, lines get missed, and unexpected moments happen. But when you have performers who can roll with those moments and turn them into something entertaining, that's when you know you're watching someone who truly understands their craft.

What I appreciated most about Paddie's performance was that he wasn't simply trying to imitate the Igor we've seen before. He understood what makes the character funny, strange, and lovable, then added his own personality to create something uniquely his. Paddie didn't just play Igor. He became Igor, right down to his trembling fingertips.

Having had the opportunity to work alongside him, I already knew how much energy and personality he could bring to a production. But watching him take on Igor gave me an even greater appreciation for his abilities as a performer.

Inga (Victoria Tiger):

Every time Victoria steps onto the stage, her presence is like a breath of fresh air. Her smile is absolutely contagious, and when she dances, she moves with the smoothness and grace of an ice skater gliding effortlessly across the ice. There's just something about her energy that makes it almost impossible not to watch her. This was my first time seeing Victoria take on a leading role, and let me tell you, she did not disappoint.

One of the things I appreciated most about her performance was how committed she was to the character, even when the spotlight wasn't on her. It's easy to stay in character when you're the center of attention, but what about when you're standing in the background while someone else is delivering their lines? Victoria never seemed to switch off. Every little reaction, every expression, and every movement still belonged to Inga. It's the kind of attention to detail that can easily go unnoticed, but when you do notice it, you appreciate the performance that much more. And then there's her singing.

As Inga, Victoria took command of every musical number she was a part of. Her voice was beautiful, confident, and captivating. There were moments when I found myself completely entranced, just sitting there listening to her sing. One moment in particular absolutely blew me away. During a scene where Inga is yodeling while riding on a bouncing cart, Victoria somehow manages to hit every note without missing a beat. Now, I don't know about you, but I have trouble holding a conversation while driving over a pothole. This woman is bouncing up and down, yodeling her heart out, and making it look effortless. It was beyond impressive. And her stage presence doesn't stop with her voice.

There's another scene where Victoria appears in a stunning blood-red dress while the rest of the cast is dressed primarily in black and white. The contrast is striking, and the moment she steps onto the stage, your eyes are immediately drawn to her. Even as the scene continues and the other performers are doing their thing, I found my attention constantly drifting back in her direction. The costume certainly helped her stand out, but it was Victoria's confidence and presence that kept my attention. Her facial expressions deserve some recognition of their own, too.

During “Roll in the Hay,” I was practically belly laughing at her expressions alone. She has this wonderful ability to communicate so much without saying a single word. A look, a raised eyebrow, a perfectly timed reaction, and suddenly the scene becomes even funnier. Combine that with her physical comedy and natural charm, and she had me laughing throughout the number.

What makes Victoria so impressive is that she doesn't just excel in one area of performing. She's an incredible singer, a graceful dancer, and a genuinely talented actress. And she brings all three of those abilities together so naturally that it's easy to forget just how difficult that really is.

It's not every day you find someone who can sing, dance, and act at such a high level. Usually, a performer has one area where they truly shine, while the others are there to support it. Victoria doesn't seem to have that problem. She is, quite simply, the complete package. Victoria didn't just bring Inga to life. She made it impossible to imagine anyone else playing her.

Frau Blucher (Niki Hall):

Frau Blucher is, without a doubt, my favorite character from the original Young Frankenstein movie. So when I heard that Niki would be taking on the role of my favorite housekeeper, I was beyond excited. I've had the pleasure of working with Niki many times throughout my theatre adventures, and if there's one thing I've learned about her, it's that Niki is at her absolute best when she's playing a character who doesn't take themselves too seriously. And let's face it, Frau Blucher is about as far from serious as you can get.

Niki has a natural gift for comedy. Her delivery, her expressions, and her ability to take even the simplest line and turn it into something hilarious are what make her such a joy to watch. Her comedic timing is so good that, at one point during the performance, she actually managed to make both Mason and Victoria break character in the background as they desperately tried to keep themselves from laughing. Now, when you can make your fellow actors struggle to keep a straight face while they're supposed to be performing, you know you're doing something right.

One of my favorite things about Niki's performance was her little side comments scattered throughout the show. They're often quick, unexpected, and delivered with such perfect timing that they catch you completely off guard. Just when you think the scene is moving along normally, Niki throws in a comment that makes you burst out laughing. I'm convinced she could get a laugh out of someone who walked into the theatre determined to have a terrible time. And we can't talk about Frau Blucher without mentioning the horse.

Every single time her name is spoken, somewhere in the distance, a horse lets out a terrified neigh. It's such a ridiculous running joke, and honestly, I think it's one of the most underappreciated gags in the entire show. The beauty of it is that it never really gets old. You know it's coming, you wait for it, and somehow it's still funny every time. Niki's ability to play right through those moments only makes the joke work that much better.

Her costumes were another standout for me. In fact, I would argue that Frau Blucher had some of the most perfectly suited costumes in the entire production. Everything about her appearance fit the character beautifully. From the clothing to the way Niki carried herself while wearing it, she looked like she had walked straight out of Castle Frankenstein and onto the West End Theatre stage.

There is one particular scene involving a short exchange between Frau Blucher and Elizabeth that has stuck with me. It's not an especially long interaction, but Niki makes it incredibly memorable. Her awkward, almost aggressively forward approach to the conversation is hilarious. She has this wonderful way of making a situation uncomfortable for everyone involved while somehow making the audience love every second of it.

That's what I enjoyed most about her portrayal. She didn't simply rely on the character's already funny dialogue. She created her own version of Frau Blücher, complete with strange mannerisms, perfectly timed remarks, and an awkward confidence that made the character even more entertaining. And because I've worked with Niki before, I know how much of that comes from her own comedic instincts.

There are some performers you enjoy watching because they're talented. There are others you enjoy because they clearly love what they're doing. And then there are performers like Niki, who manage to combine both and make everyone around them have a good time in the process. She took my favorite character from the movie and somehow made me love her even more on stage.

At this point, I've come to a pretty simple conclusion. If Niki is involved in a production, sign me up. Because whether she's delivering a perfectly timed punchline, making her fellow actors fight back laughter, or simply standing there being wonderfully awkward, she's going to find a way to entertain you. And really, what more could you ask for?

Elizabeth Benning (Amanda Harmon):

Elizabeth Benning is Dr. Frederick Frankenstein's glamorous, high-maintenance, and hilariously self-absorbed fiancée. She's a woman who loves the finer things in life, especially herself, and isn't particularly interested in letting anyone mess up her perfectly polished appearance. Dramatic, demanding, and delightfully over-the-top. And Amanda? Well, she understood the assignment.

What's interesting about Amanda's performance is that you hear her before you ever see her. And let me tell you, the moment you hear the voice she's created for Elizabeth, you know exactly what kind of woman you're dealing with. It's exaggerated, dramatic, and dripping with personality. You don't even need to see her face to get a sense of who Elizabeth is. Amanda makes you feel that character right down to your soul. Then she finally steps onto the stage, and everything comes together.

As soon as she launches into “Please Don't Touch Me,” I found myself wishing she could just stay on stage a little longer. Amanda has this wonderful ability to take command of a scene without making it feel forced. She knows exactly how to grab an audience's attention, and more importantly, she knows how to keep it.

Her facial expressions, vocal delivery, and wonderfully over-the-top mannerisms all work together to create a character who is so ridiculously full of herself that you can't help but love watching her. Elizabeth is the kind of person who would probably demand a standing ovation just for walking into a room, and Amanda plays that attitude beautifully. But one of the biggest highlights of her performance came during her scene with the Monster. That scene was easily one of my favorites in the entire production.

Without giving too much away for those who haven't seen the show, the interaction between Elizabeth and the Monster is absolutely hilarious. Amanda takes the already ridiculous situation and runs with it, delivering the comedy with the kind of confidence and commitment that makes the whole thing work. Her reactions and timing were fantastic, and she managed to make an already memorable moment even more entertaining.

What I appreciated most about Amanda was her ability to make Elizabeth feel larger than life. This is a character who could easily become annoying if played the wrong way. After all, she's vain, demanding, dramatic, and completely obsessed with herself. But Amanda finds the humor in all of those qualities and turns them into something genuinely enjoyable to watch. She doesn't just play a diva. She makes being a diva look like an art form.

Amanda may not be on stage for as much of the production as some of the other leading characters, but she certainly makes the most of every moment she's given. And when she leaves the stage, you find yourself looking forward to the next time she comes back. For a character who spends so much time making sure nobody touches her, Amanda certainly knows how to leave an impression.

The Monster (Billy Melms):

This production of Young Frankenstein was my first introduction to Billy. Before this show, I had never heard his name or seen his face on stage. I don't know much about his theatrical background, how long he's been acting, or what kind of experience he brings to the table. But what I can tell you is that he was a whole lot of fun to watch.

Playing the Monster presents a unique challenge. Unlike most of the other characters in the show, Billy doesn't have the luxury of delivering long speeches or clever one-liners to get his point across. His dialogue is extremely limited, meaning he has to rely heavily on his physical performance, facial expressions, movements, and, of course, a whole lot of grunting. And that's not as easy as it sounds.

When you take away an actor's ability to communicate through words, every movement becomes that much more important. The way they stand, walk, turn their head, or react to what's happening around them has to tell the story. Billy embraced that challenge and created a Monster that was entertaining to watch.

There is something genuinely fun about watching a character who has so little to say but still manages to make his presence known. Billy brought an enjoyable physicality to the role, and I found myself looking forward to seeing what he would do next. That being said, I do have one critique, although it has more to do with the makeup than Billy's performance.

I felt the Monster could have used a little more makeup, or at least a more consistent application of it. The makeup appeared somewhat spotty in places, and during one scene, after Billy removed his top hat, a noticeable amount of the makeup on his head seemed to come off with it. It's a small technical issue, but one that became fairly obvious from where I was sitting.

What makes that a little disappointing is that some of the makeup details were actually quite good. The stitches, scars, and other features designed to give the Monster that pieced-together appearance were nicely done. Unfortunately, even sitting as close as the third row, I had a difficult time making out some of those details. And that's a shame because those are exactly the kinds of things that help sell a character like Frankenstein's Monster.

When you're creating a creature that's supposed to have been assembled from various body parts and brought back to life, the visual details are a big part of the storytelling. I would have loved to see those scars and stitches emphasized a little more so they could be appreciated from farther back in the audience. Of course, none of that takes away from the work Billy put into the character itself. The Monster is a role where actions have to speak louder than words, and Billy certainly gave us plenty to watch.

For someone I had never seen perform before, he made a good first impression. I enjoyed watching him bring this iconic character to life, and I'm looking forward to seeing what else he might bring to the West End Theatre stage in the future. After all, it's not every day you get to make your first impression by playing a reanimated corpse. And if that's how Billy introduces himself to an audience, I'd say he's off to a pretty interesting start.

Inspector Kemp (Max Egloff):

Every time Max steps onto the stage, you never quite know what you're going to get. And I mean that in the best possible way. He has this ability to take a character and make it his own, often throwing in little mannerisms, expressions, or comedic moments that you just don't see coming. And his portrayal of Inspector Kemp in Young Frankenstein was no exception.

Max took this character and ran with it, although I will admit, things got off to a bit of a rocky start. When he first appeared on stage, something seemed a little off. Maybe it was nerves. Maybe he had something on his mind. Whatever it was, his usual confidence didn't seem to be there, and a few lines appeared to get missed. It wasn't quite the Max I've grown accustomed to watching. However, the production was also dealing with some technical difficulties involving the projector, and the director eventually called for a reset, bringing the performance back to the beginning. Apparently, that was all Max needed.

When he came back out, it was like someone had flipped a switch. There was the Max we've seen deliver time and time again. His confidence returned, his timing was back, and he jumped right into the wonderfully ridiculous character of Inspector Kemp. One of my favorite parts of his performance was his use of the prosthetic hand. If you've ever seen the movie Kingpin, you might remember Woody Harrelson's character, Roy Munson, and the hilarious situations involving his prosthetic hand. Max's physical comedy reminded me of that same kind of humor.

There were several great moments involving the hand, but one in particular had me laughing. At one point, Inspector Kemp attempts to check someone's pulse using his fake hand. Now, just picture that for a second. It's such a simple gag, but when you combine it with Max's facial expressions and the way he commits to the moment, it becomes absolutely hilarious. His ability to take something so ridiculous and play it with complete seriousness is what makes the joke work. And that's something I've always appreciated about Max. He understands that sometimes the funniest thing an actor can do is act like nothing funny is happening at all.

Another highlight was his interaction with ensemble member Xander McGill. The two shared a few scenes together, and their comedic chemistry was fantastic. They played off one another naturally, with their reactions and timing turning even the smaller moments into something entertaining. Sometimes comedy isn't about having the funniest line in the script. It's about having someone on stage who knows exactly how to react to what you're doing. Max and Xander seemed to understand that, and together they created some genuinely funny moments.

What I enjoyed most about Max's performance was how he recovered from that initial rough start. Live theatre isn't always perfect, and dress rehearsals certainly aren't. Things go wrong, distractions happen, and sometimes performers need a moment to find their footing. But once Max found his, he reminded everyone exactly why he's so much fun to watch. Inspector Kemp is already a ridiculous character, but Max brought his own brand of physical comedy and personality to the role, making it one I thoroughly enjoyed.

Extra Notes:

This performance had a very large cast. I may not be able to dive into every single actors performances but here were some noteworthy points I feel are of importance to mention.

-Set changes were a nightmare. They seemed to take way longer than they should and look uncoordinated. I know it is dark but actors, make sure you watch not just where you are going on the ground but above too. Many times the hanging speakers were getting knocked around and if those fall, someone is getting hurt badly.

-During the performance of the musical number “The Happiest Town in Town” the villagers are singing about being happy. Only three of them looked happy. As I have said a lot in this review, facial expressions go a long way.

-During the scene with all the medical students singing “The Brain”, the students didn’t appear in sync. Timing appeared off and a little uncoordinated. Not to take anything away from the overall performance being amazing though.

-During the “Please Don’t Touch Me” number I was very enamored with he costuming. The time period pieces looked great on every actor. That was possibly the most in sync any of the dancers were during a song in the play.

-We did get some audio being left on back stage and were able to hear some behind the scenes comments more on the PG-13 rating. Actors and Audio Engineer should probably shore that up for the rest of the shows.

-“Join the Family Business” had one of my favorite sets. The bookcase is so beautifully painted.

-When trying to find the original Dr. Frankenstein’s notebook, it appeared the book prop may have been forgotten. But the cast made it appear as if the whole situation was suppose to take place off stage. Maybe it was, I just didn’t feel it was suppose to happen that way.

-The “Life, Life” number was so pleasing to watch. Visually it was stunning.

-“Transylvania Mania” was tops in choreography. Every actor on stage nailed that scene. Not a single critique from me.

-During “He’s Loose” one of the ensemble actors was carrying around a Pringles can as a weapon I guess. It was a bit odd and took me out of the scene for a moment. But props to the use of a sandle as a weapon. I know those hurt.

-Many ensemble characters were seen zoning out. It is always something I look for and is an easy fix. Just want to note it so actors can keep it fresh in their brains for the shows.

-I don’t normally do this but I do want to mention a few ensemble characters that stood out. Xander McGill, Whitney Martinez, Alicia Hinojosa and Nellie Romero. Those four knew their place on stage. They also seemed to know everyone else’s place as well and help with slight directional changes as needed. They never broke character and even when in the background they always reacted as needed to the situation at hand. In no way am I taking away from anyone else. They all were great but when you are in the ensemble and make yourself noticed without overdoing it, it deserves to be noticed.

Final Review:

Young Frankenstein: The Musical is a wonderfully ridiculous, laugh-out-loud production that reminds us why we love live theatre in the first place. Is it perfect? No. There were technical difficulties, lengthy set changes, some crowded choreography, and a few moments that could use a little polishing. But that's the beauty of seeing a dress rehearsal. You get to witness the final pieces coming together before the curtain officially rises. And despite those hiccups, there was no shortage of talent, creativity, or entertainment on that stage. The cast brought an incredible amount of energy, personality, and comedic talent to their roles, with performances that ranged from wonderfully over-the-top to surprisingly impressive. Add in some clever set pieces, memorable musical numbers, and a whole lot of theatrical madness, and you've got a show that offers plenty to enjoy.

What impressed me most wasn't any single performance, set piece, or musical number. It was the amount of heart that went into bringing this monster of a production to life. Young Frankenstein is not an easy show to pull off, especially on a smaller stage, but directors Kelsey Johnson, Samantha Williams and their cast and crew have clearly poured countless hours into making it happen. The show has its rough edges, but underneath them is something genuinely entertaining, filled with memorable characters, fantastic comedic timing, and moments that had me laughing until my stomach hurt. If you enjoy Mel Brooks' humor, catchy musical numbers, and a cast that isn't afraid to make complete fools of themselves for the sake of a good laugh, this is a show worth seeing. West End Theatre has managed to breathe life into this classic comedy, and while a few bolts may still need tightening, the monster is alive and ready to entertain!

Young Frankenstein: The Musical

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