PicksInSix Review: Young Frankenstein - Mercury Theater Chicago

Mercury’s “Young Frankenstein” High-Flying Fun!
PicksInSix® Review | Guest Contributor | Ronald Keaton

The brilliance of the 1974 film Young Frankenstein comes from the ability of Mel Brooks its director and screenwriter (with Gene Wilder) to alternately pay tribute to Hollywood’s past, while parodying scenes from great films. The stage musical version of “Young Frankenstein”—with music and lyrics by Brooks and book by Brooks and Thomas Meehan—now playing at the Mercury Theater Chicago under the direction of J. Walter Stearns and musical direction of Eugene Dizon, delivers a high-flying fun night with all of that same pathos and side-splitting comedy thanks to some spirited performances and a hard-working ensemble of endless invention.

As the story goes: Dr. Frederick Frankenstein (the great and versatile Chicago actor Sean Fortunato) is fighting the family legacy to make his own name, right down to the pronunciation – “Fronk-en-steen.”  He’s a university professor and lecturer who is constantly denigrating his grandfather’s work, calling it the “ravings” of a lunatic mind.  Now that his grandfather has passed away, he is called to Transylvania to settle the family estate. He leaves behind a fiancé Elizabeth (a fine comic performance by Lillian Castillo), who is a truly spoiled girl that he really doesn’t love, it seems. There is a fun song – “Please Don’t Touch Me”— at the pier where Frederick is about to depart that showcases the terrific ensemble that is immensely valuable in this production.  While Elizabeth is distressed that he is leaving right before their wedding, she accepts the inevitable.

Frederick arrives in Transylvania, meeting Igor (Ryan Stajmiger in an energetic turn), hiring a tall demure assistant named Inga (the lovely and talented Isabella Andrews) and meeting the boss of the house, Frau Blücher (Mary Robin Roth, who steals every scene she’s in – cue the horses).  Frederick is convinced, in time, by reading his grandfather’s record on his work – a book entitled “How I Did It” – and assumes the responsibility to replicate the recreation of life at last.

The Monster (the wonderful Andrew MacNaughton, who makes a role with nifty footwork and practically no dialogue a truly enjoyable experience, because he’s enjoying it himself) comes to life and runs to the countryside and freedom.  Jonah D. Winston is an articulate Inspector who rouses the hoi polloi to action against the Monster. There’s an unforgettable scene with the blind Hermit (Samuel Shankman in great voice – “I was going to make espresso…”)

In this production, the ensemble leaves a strong mark on the story, particularly when choreographer Brenda Didier is putting them through their paces.  Playing everything from Elizabeth’s “staff” to the citizenry of Transylvania to passengers at the pier to tap-dancing fools and supporting the Monster and Frederick and, well, everyone else in a finale of impressive tap dancing that’s fit for the Ritz!

I’ve always been a huge Mel Brooks fan but that’s not a requirement to enjoy this stellar laugh-out-loud night of frivolity that’s playing through December 31.  

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.com  Coming soon, his new solo play “Echo Holler.” www.echoholler.com

PHOTO|Liz Lauren

Mercury Theater Chicago
presents
YOUNG FRANKENSTEIN
3745 N Southport Avenue
through December 31, 2023

WEBSITE

TICKETS

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

PicksInSix Review: Sister Act

View fullsize

A ROUSING, RIOTOUS, HIGH-SPIRITED HIT!  

When Mercury Theater’s new artistic director Christopher Chase Carter stepped on the stage Thursday to welcome the opening night audience for “Sister Act,” you could feel a higher power in the house. Less than a year ago, Mercury’s future was in jeopardy and without some divine intervention, the former silent film nickelodeon on North Southport, home to such long-running regional hits as “Avenue Q” and “Spamalot” under the production partnership of Walter Stearns and Eugene Dizon for the past decade, might have been lost to Chicago theater audiences forever.

All of the fear, uncertainty and speculation of that eventuality was washed away a few moments later when the dazzling Alexis J. Roston launched into a stunning star turn as Deloris Van Cartier in the hilarious musical comedy about a fame-seeking disco diva who is remanded into the Philadelphia police witness protection program after reporting a murder. Whether shimmering in a silver-sequined Marquecia Jordan outfit, decked out in her nuns veil and tunic, or lounging in your big sister’s wool pajamas, Roston drips with so much charm, talent and vocal presence that you become an instant, true believer in her unique path to enlightment. This is a blockbuster, folks, and recertifies the importance of the Mercury Theater Chicago, and it’s busy cabaret venue Venus, as an essential element to both the Southport Corridor and the Chicago theatrical landscape.

As the story goes: Fearing for her life, officer “Sweaty Eddie” Souter (Gilbert Domally) takes Deloris to a convent to hide from the ruthless gangster Curtis Jackson (Denzel Tsopnang) and his rag-tag minions who want her dead. The free-spirited Deloris immediately gets into the habit of antagonizing Mother Superior (Jane Grebeck-Brewer) with her brash street talk and progressive attitude. A harmonious chord is struck when Deloris takes over the choral direction of the Queen of Angels Singers and wins over the charming sisterhood, the congregation and even the affable Monsignor O’Hara (Ed Kross). The story—by Cheri and Bill Steinkellner with additional book material by Douglas Carter Beane—may verge on the melodramatic at times, but it’s all uproariously funny and sewn together with a phenomenal score by award-winning composer Alan Menken and lyricist Glen Slater.

Director Reneisha Jenkins rocks the parish in her professional directing debut. With a creative team that includes choreography by Carter and music direction by Diana Lawrence, the resounding themes of friendship, acceptance, faith and love come shining through in each character. And while Roston, Grebeck-Brewer and Domally have an abundance of the special kind of chemistry needed to carry the show, their higher calling is infusing that enthusiasm and trust into the entire company, in every song and every production number. It’s really evident and that is why “Sister Act” will leave you feeling three-times blessed.

Among the many featured performances, newcomer Isabella Andrews is exquisitely cast as the shy and demur Mary Robert who blossoms into a confident firebrand. In a show of showcase performances, Andrews sings the touching ballad “The Life I Never Led” with the wide-eyed wonder of innocence. The nuns—Leah Morrow, Jenny Rudnick, Nicole Cready, and Nancy Wagner— along with Nicole Armold and Aalon Smith, are quite simply marvelous. Jackson’s henchmen—Joey (Marcus Jackson), Pablos (Ruben Castor) and TJ (Austin Nelson Jr.)—show off some nifty footwork and serve as terrific backup singers.

Scene designer Angela Weber Miller and video designer G. “Max” Maxim IV have teamed up on an exquisite multi-level set that incorporates high-tech optics which are punctuated by Jackie Fox’s lighting design and Carl Wahlstrom’s crystal-clear sound. In addition to the nightclub dazzle, costume designer Jordan uses a creative, wide-ranging color palette for the nuns habits, altogether making “Sister Act” a rousing, riotous, high-spirited hit!  

PHOTO|Brett Beiner Photography

MERCURY THEATER CHICAGO
presents
SISTER ACT
through January 2, 2022

3745 N Southport Avenue
(773) 360 - 7365

WEBSITE

TICKETS

HEALTH PROTOCALS

For more reviews, visit: Theatre In Chicago

ARCHIVE

PicksInSix® is a registered trademark of Roxbury Road Creative, LLC