PLAYHOUSE THEATRE, LIVERPOOL – UNTIL SATURDAY 3RD JANUARY 2026
REVIEWED BY MIA BOWEN
5*****
Young Frankenstein: The Musical is an uproariously funny, high-energy production that transforms Mel Brooks’ legendary comedy into a vibrant stage performance filled with wit, charm, and impeccable execution. The show is packed with rapid-fire jokes, clever wordplay, and brilliantly exaggerated physical humour, ensuring that the audience remains entertained from start to finish. It successfully retains the essence of the film while introducing its own theatrical elements, resulting in a truly refreshing and enjoyable experience.
The cast was exceptional in every regard. Each performer exuded remarkable charisma, had impeccable comedic timing, and clearly demonstrated a deep love for their role. Their ability to merge bold, exaggerated humour with authentic character work made each moment captivating. As an ensemble, they operated seamlessly, playing off one another’s energy, enhancing punchlines, and transforming every scene into something memorable. Their chemistry was so powerful that even the smallest interactions became shining comedic highlights.
The true highlight of the evening was Curtis Patrick as Igor, who completely stole the show with a performance that was nothing short of brilliant. His irresistibly animated facial expressions were comedic gold, transforming even the slightest reactions into laugh-out-loud moments. Combined with his quick, witty lines, delivered with impeccable timing and mischievous charm, he consistently elicited some of the loudest responses from the audience. Patrick’s portrayal of Igor was not only humorous but also magnetic, injecting a spark into every scene he graced and firmly establishing himself as the standout of the show.
Young Frankenstein presents a succession of show-stopping musical numbers, each brimming with humour, energy, and impeccable theatricality. The entire score bursts into life, infused with riotous comedy and extraordinary vocal talent, making the musical performances some of the most memorable highlights of the evening.
One standout performance came from Amelia Adams as Elizabeth Benning, particularly during her brilliantly executed number “Please Don’t Touch Me.” Adams’ comedic timing, sparkling vocals, and exuberant dramatics had the whole audience in fits of laughter. By the end of her performance, many were in tears from laughing, utterly captivated by the absurdity and charm she infused into the role. Another electrifying moment was delivered by Pete Gallagher as the Monster in the iconic “Puttin’ on the Ritz.” This was the scene everyone had eagerly anticipated, and it certainly lived up to expectations. Gallagher’s charismatic presence, coupled with the number’s splendid mix of chaos, choreography, and unexpected elegance, created an unforgettable highlight of the show. Equally amusing was Julie Yammanee as Inga, whose lively and spirited rendition of “Roll in the Hay” had the audience in stitches. Those seated beside me were in tears from laughter—Yammanee’s infectious energy and comedic brilliance made this number a true favourite among the crowd.
On press night, just as Act II commenced, the performance was momentarily halted when Julie Yammanee sustained an injury. Stepping in on remarkably short notice, Jessica Wright took over the role with ease. Her swift adaptability, confidence, and polished performance showcased her professionalism and highlighted the strength of the production’s cast and crew.
Overall, this production is shockingly funny and an electrifying theatrical success. It sparks laughter at every turn, providing a night of unforgettable entertainment that leaves the audience buzzing with joy long after the curtain falls.