Every time I walk away from a Sutter Street Theatre show, I will inevitably think of the old idiom, “big things come in small packages.” The playhouse is wedged between businesses in the Folsom Historic District. The demarcation between the stage and foot room for the front row is hazy at best and even a small cast seems perpetually short on elbow room. And yet, Sutter Street Theatre’s “Young Frankenstein” thrives in this small space, bringing the musical adaptation of one of Mel Brooks’ most-loved films to life (not unlike a certain hulking cadaver) and eliciting laughs that fill the playhouse frequently.
For the uninitiated, “Young Frankenstein” is the tale of a successful and serious scientist, Frederick Frankenstein (Terry Martin). It’s pronounced “Fronkensteen,” according to Frederick — who has lived his life doing his best to avoid any association with his monster-making grandfather. But when he inherits his grandfather’s castle in Transylvania, he’s pulled inextricably into the same sorts of science that saw Frankenstein Sr. labelled a madman.
Based on the film co-written by Mel Brooks and Gene Wilder, the musical adaptation hits all the main beats while finding ample opportunity to add song and dance numbers also penned by Brooks. Bear in mind, the show can be more than a bit bawdy, so bringing youngsters along opens up the risk of being asked to explain more than a few jokes during intermission.
The small stage is virtually littered with big talent for Sutter Street’s latest show, with supporting characters Igor (Aiden Moore), Inga (Karin Worley) and Elizabeth Benning (Heather Clark) absolutely stealing the show every chance they can. Worley and Clark both can blow the audience away with their voices, particularly at such close range, while Moore’s physicality and timing do an incredible job of filling the henchman slippers first worn by the iconic Marty Feldman.
Martin’s Frankenstein anchors the show, serving as a sort of straight man that amplifies the zaniness of the characters around him while also managing to skillfully navigate scientific jargon in a patter song performance that would give a modern major-general pause.
Based on the film co-written by Mel Brooks and Gene Wilder, the musical adaptation hits all the main beats while finding ample opportunity to add song and dance numbers also penned by Brooks. Bear in mind, the show can be more than a bit bawdy, so bringing youngsters along opens up the risk of being asked to explain more than a few jokes during intermission.
The small stage is virtually littered with big talent for Sutter Street’s latest show, with supporting characters Igor (Aiden Moore), Inga (Karin Worley) and Elizabeth Benning (Heather Clark) absolutely stealing the show every chance they can. Worley and Clark both can blow the audience away with their voices, particularly at such close range, while Moore’s physicality and timing do an incredible job of filling the henchman slippers first worn by the iconic Marty Feldman.
Martin’s Frankenstein anchors the show, serving as a sort of straight man that amplifies the zaniness of the characters around him while also managing to skillfully navigate scientific jargon in a patter song performance that would give a modern major-general pause.
While talking about big talents, it’s impossible to overlook Scott Howard as the monster, who absolutely towers over the set and cast and grabs some big laughs when he lumbers through “Puttin’ on the Ritz.”
The performances and direction of the show are deserving of high praise, with the production as a whole going for absolutely every laugh and gag they can, and nailing most of them with perfect timing — the entire scene between the monster and the blind hermit (Mark Androvich) is as hilarious as it was on the silver screen.
Though some tech issues held back the timing on an audio gag or two, the jokes still landed well and will undoubtedly get better as the cast and crew get into a groove as the production continues. The choreography for the show also warrants special note for managing to toss close to two dozen actors onto the small stage at once and have it work.
“Young Frankenstein” is sure to be a treat for theatregoers this month, delivering big laughs on a small stage.
The play is around two hours and 20 minutes with one intermission. ”Young Frankenstein” plays through Aug. 24; Fridays and Saturdays at 7:30 p.m., Sundays at 4:30 p.m. at 717 Sutter St. Folsom, CA 95630. Tickets are available here.
The performances and direction of the show are deserving of high praise, with the production as a whole going for absolutely every laugh and gag they can, and nailing most of them with perfect timing — the entire scene between the monster and the blind hermit (Mark Androvich) is as hilarious as it was on the silver screen.
Though some tech issues held back the timing on an audio gag or two, the jokes still landed well and will undoubtedly get better as the cast and crew get into a groove as the production continues. The choreography for the show also warrants special note for managing to toss close to two dozen actors onto the small stage at once and have it work.
“Young Frankenstein” is sure to be a treat for theatregoers this month, delivering big laughs on a small stage.
The play is around two hours and 20 minutes with one intermission. ”Young Frankenstein” plays through Aug. 24; Fridays and Saturdays at 7:30 p.m., Sundays at 4:30 p.m. at 717 Sutter St. Folsom, CA 95630. Tickets are available here.
This story is part of the Solving Sacramento journalism collaborative. This story was funded by the City of Sacramento’s Arts and Creative Economy Journalism Grant to Solving Sacramento. Following our journalism code of ethics, the city had no editorial influence over this story. Our partners include California Groundbreakers, Capital Public Radio, Hmong Daily News, Outword, Russian America Media, Sacramento Business Journal, Sacramento News & Review and Sacramento Observer. Sign up for our “Sac Art Pulse” newsletter here.