'Young Frankenstein' not quite a monster hit

Back in 2000, Chicago went gaga for the Broadway tryout of "The Producers." But local audiences are in for a letdown if they're expecting the same lightning to strike twice with "The New Mel Brooks Musical Young Frankenstein" (its full official title).

It's odd because so many of the same talents that helped make "The Producers" a 12-time Tony Award-winning Broadway smash seem to have lost their way with the 2007 musical "Young Frankenstein," now at the Cadillac Palace Theatre in a post-Broadway national tour. Still, even if "Young Frankenstein" doesn't coalesce as a whole, at least it has enough polished piecemeal elements - and strong performances - to give audiences their money's worth.

"Young Frankenstein's" main problem is that Brooks and co-author Thomas Meehan applied the same adaptation style template of "The Producers" onto his 1974 classic horror movie spoof. The hard-sell showbiz narcissism and borscht-belt humor that were so natural for the Broadway-obsessed world of "The Producers" feel too forced in "Young Frankenstein."

Brooks' "Young Frankenstein" score also isn't as catchy or clever as his previous efforts. In one bewildering moment during the song "Please Don't Touch Me," the glamour gal fiancee Elizabeth (a vivacious Beth Curry) belts out a long note on a slang word for breasts. Typical Mel Brooks humor you may say, but in this context it just feels juvenile.

Teamed again with her same Tony Award-winning "Producers" design team, director/choreographer Susan Stroman's efforts are good, but the seams holding the show together are noticeable. Her flashy and shoehorned dance routines are athletic, but often outstay their welcome.

Most of the joy in "Young Frankenstein" comes from the hardworking cast, which prominently features two original "Producers" supporting cast members Roger Bart ("Desperate Housewives") and Brad Oscar.

Bart's initially understated performance as Dr. Frankenstein (pronounced "Fraunken-Steen") grows to overly frantic comic heights when he recreates his mad grandfather's living-dead experiments. Oscar does distinguished comic work with his two oddball characterizations of the curt amputee Inspector Kemp and unintentionally abusive blind Hermit.

Even more hilarious character work comes from Cory English's grimacing assistant Igor (complete with migrating hunchback), while Joanna Glushak wins more laughs per capita as the sinisterly kvetching housekeeper Frau Blucher (cue the horse whinneys). As the busty blonde assistant Inga, Anne Horak is a true triple-threat (even if her Eastern European dialect wanders a bit).

The one spot where "Young Frankenstein" fires on all cylinders is the famed "Puttin' on the Ritz" top hat number. Stroman expands and enlarges the song into a guaranteed showstopper that pays homage to the heyday of 1930s film spectacles.

Throughout it all, Shuler Hensley shows what a comic master he is as the big bellowing green Monster who also can hoof with the best of them. And be sure to stay tuned for Hensley's gorgeous operatic baritone voice at the end.

"Young Frankenstein" certainly has its fun moments, but it doesn't live up to "The Producers." Having "Young Frankenstein" play the same Chicago launchpad of Brooks' previous Broadway triumph only reinforces that sense of disappointment.

"The New Mel Brooks Musical Young Frankenstein"

Rating: 2½ stars

Location: Cadillac Palace Theatre, 151 W. Randolph St., Chicago, (800) 775-2000 or broadwayinchicago.com

Showtimes: 7:30 p.m. Tuesdays through Thursdays, 8 p.m. Fridays and Saturdays, 2 p.m. Saturdays, Sundays, Nov. 27 and select Wednesdays. No show Nov. 26; through Dec. 13

Running time: Two hours and 40 minutes with intermission

Tickets: $30-$95

Parking: Nearby garages

Rating: profanity, sexual jokes

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