Young Frankenstein - LEOS Review
- Thomas Levi
- 23 hours ago
- 5 min read
★★★★☆
If you’ve ever wondered what would happen if Mel Brooks’ gleefully monstrous Young Frankenstein teamed up with the boundless energy of a community theatre troupe, then you’re in for a treat. At the May Hall in Trent College, Long Eaton Operatics Society has risen to the occasion; this monstrous musical is camp, chaotic and gloriously alive. It asks the question: why go to the theatre if you’re not going to have a monster-size amount of fun?
Young Frankenstein is a gleefully madcap parody of the classic 1931 horror film Frankenstein and a stage adaptation of Brooks’ own 1974 cult comedy. The show follows the brilliant but reluctant Dr Frederick Frankenstein, grandson of the infamous Victor, who inherits his family’s Transylvanian estate and accidentally discovers his grandfather’s decrepit laboratory. With the help of his hunchbacked assistant Igor, the alluring lab assistant Inga, and the formidable housekeeper Frau Blücher, Frederick sets out to prove that he too can reanimate the dead — with monsterously funny consequences. Packed with slapstick humour, double entendres, and toe-tapping numbers like “The Transylvania Mania” and “Puttin’ On The Ritz,” Young Frankenstein is a riotous celebration of classic horror, vaudeville spectacle, and Mel Brooks’ signature irreverent wit.
What makes this production sing is the conviction behind every note, dance step, scream and laugh. The show never once feels like anyone is phoning it in. Instead, it feels powered by joy. When the Monster bursts through or the lab erupts or the cast whip into yet another ludicrous song and dance number, you believe they are having the time of their lives—and you do too. LEOS hasn’t tried to hide its amateur roots; rather, it embraces them with a gleeful wink. This is B-movie glamour done with heart and humour, and that’s exactly what you need.
Rhodri Denton’s Igor is an early standout—his cheeky asides and lightning-fast comedic timing make him an integral staple of this production. The inspired choice to give him a British accent when everyone else embraces European brogues, American twangs, or horror tropes was a stroke of genius (intentional or not).
Jake Gelernter took on the role of Frederick Frankenstein with a wonderful blend of awkward ambition and virginistic eccentricity. Rather than leaning into the full-blown “mad scientist” caricature we might expect, Gelernter instead delivers a more understated and cerebral portrayal; a man teetering on the edge of obsession, but still desperately trying to hold it all together. His cool, deadpan fixation on science provides the perfect counterpoint to the surrounding madness, allowing the comedy to land all the more effectively. It’s a refreshingly intelligent interpretation of the role, both funny and unexpectedly endearing.
Louise McGowans’ Frau Blücher deserves her own ovation. Every entrance fuelled laughter. Her deliciously over-the-top delivery of “my boyfriend” is utterly camp, extremely wild and beautifully unashamed. McGowan made the audience chuckle before a joke even landed. She owns the stage with delightful flamboyance. A genuine comic voice.
As a show, Young Frankenstein is outrageously funny from start to finish; whether you know Mel Brooks’ world inside out or stumble in unprepared. LEOS’ cast lean into the absurdity with enthusiasm, and a few clever improvisational touches (the Matcha Latte line being a particular highlight) give the production its own unique flavour. It’s fresh, cheeky, and bursting with personality, everything a good parody should be.
Mariko Jones’ Inga takes the stage with a joyful wink. The role, a pastiche of a tongue-in-cheek “sexy lab assistant” trope, which could so easily feel cringey in today's world, but Jones pulls it off with flair. Her accent was a little unintelligible in the first scene, but by her second, she had invested the role with genuine comic confidence.
Dan Scott as Inspector Kemp is wonderfully “over-dramatised”, he’s all big gestures, booming voice and comic menace. Scott delivers a very solid performance in a thankless role that could easily be forgettable; instead, he makes Kemp memorable.
Aimee Chilton’s Elizabeth Benning proves she’s got pipes to go with her presence—singing with conviction, and then cheekily belting “tits, tits, tits” to the audience in ‘Please Don’t Touch Me!’ is nothing short of glorious.
The production perfectly nails the gleeful B-movie spirit that Young Frankenstein thrives on, delightfully over-the-top, knowingly camp, and never in danger of taking itself too seriously. The cast’s energy radiates from the stage, and the audience can’t help but mirror their enjoyment. There are a few surprise design choices that I’ve been sworn to secrecy over, but let’s just say that when the Monster finally bursts onto the scene, the room practically vibrates with excitement.
Kheenan Jones embodies The Monster with brilliant physicality and precision, every lumbering movement and wide-eyed expression earning roars of laughter. His performance in “Puttin’ on the Ritz” is pure comedic gold; the kind of scene that leaves the entire audience grinning long after the curtain.
Similarly, Charlotte Gelernter, as The Hermit, brings fresh surprise. I could never understand why this character existed in the musical, but Gelernter invests her in improvisational magic and unashamed campness that won me over.
Director Emma Kelvey deserves huge credit for pulling this sprawling piece together. Choreographer Rachel Merrill corals the cast’s syncopated dances and stage patterns with verve; Musical Director Charlotte Daniel and her live band provide the engine that keeps the show humming. The entire LEOS ensemble allows no one to hide—everyone dances, sings, acts (and even assists scene transitions). It’s a real company show.
There were a few minor technical hiccups on the night — the occasional microphone dropout, some underlit action toward the back of the stage, and the odd clunky curtain pull during set changes — but these are par for the course in amateur theatre and never detracted from the fun. The simple set worked well, though a little more visual distinction between America and Transylvania, or between the dingy lab and the world beyond, might have added extra texture. Still, this is community theatre, and LEOS made the most of every resource available, and the enthusiasm and performances in the production more than made up for any technical limitations.
So, if you’re looking for an excuse to see a piece of theatre that’s silly, daring, and full of laugh-out-loud moments, then Young Frankenstein by LEOS is your perfect night out. It’s not a faultless West End giant, but it doesn’t need to be; it’s bursting with energy, creativity, and an unmistakable love of the craft. This is a company that wears its heart proudly on its sleeve, not least through its new initiative, The Lasting Project — a bold and inspiring commitment to making amateur theatre more accessible, not only for LEOS but for other community groups too. Their big-hearted approach to creativity and inclusion is every bit as impressive as what they put on stage.
Young Frankenstein plays at May Hall, Trent College, until 25 October. And if you’re already planning your next trip, LEOS returns in April 2026 with The Wedding Singer, a show that promises to be toe-tapping, laughter-filled, and utterly unmissable.
