Young Frankenstein

The Mel Brooks musical Young Frankenstein comes to life in this broad stroke, campy and very polished production from Darlington Theatre Players. Top notch production values and a stellar cast make this one of Perth's top community theatre productions of 2024.

This company is renowned for producing a great set, and this one, designed and constructed by Aaron Lucas (remember that name) is superb, with a gothic base set, including stained glass windows, supplemented with a series of well-constructed trucks. Kudos to the stage crew, under stage manager Chloe Wiggers, who execute changes almost at a run - very swiftly and efficiently. Lighting is used very effectively to enhance the horror genre - with a technical team lead by Devlin Turbin. Costumes, designed by Kathryn Wackett and Eloise Carter, are the height of Transylvanian chic, with some great surprises - beautiful fit and cohesion.

No weak links in this strong cast. Felix Malcolm shines in the title role of Frederick Frankenstein - his first leading role in a musical, with strong voice and excellent comic timing. The centre of an unlikely love triangle, Helen Kerr, is gorgeous as his self-obsessed fiancé Elizabeth Benning (and wearing some of the best of makeup and wig designer Yvette Drager Wetherilt’s amazing wigs). Clever and beautiful lab assistant Inge is played with overt sensuality by Tatum Stafford, also in her first leading role, in another excellent performance.

Aaron Lucas, as well as creating the set, pulled double duty as The Monster, a very funny and well physicalised performance. Also edging into the bizarre, was Rp van der Westhuizen, who, as the hunchbacked Igor, was an audience favourite, lighting up the stage with fabulous facial expression and great movement. Sarah McCabe was excellent as the very severe Frau Blucher - an ominous presence.

In smaller roles, Jake Battle was strong as the physically impaired Inspector Kemp, Connie Wetherilt was very funny as village idiot Ziggy, while Charlie Darlington played several small roles, including the unfortunate blind hermit, with aplomb.

A talented and busy ensemble make some cute cameos and execute Sophie David’s clever and offer comedic choreography with panache, with production numbers “Don’t Touch Me” and “All in the Family” receiving cheers. “Putting on the Ritz” choreographed by Ebony Uetake was another highlight.

A live band of a dozen or so instrumentalists, and the svelte silhouette of Musical Director Tara Oorjitham are just visible behind the stained-glass windows and sounded superb. The band also provided the singers for the Villagers’ barbershop quartet - great to see some of our musos out of the dark and singing well. My only disappointment with the show was that on opening night, the sound balance favoured the band, and some lyrics were lost - despite great singing performances.

Vibrant and well produced, this production is a must see for musicals fans.

Kimberley Shaw