Review by Patrick Olliffe
19/06/2024
Saturday morning, I embarked on a journey from Clapham Junction to the charming market town of Farnham. As the familiar grey rooftops of London transformed into the lush green fields of Surrey outside my window seat, a wave of anticipation and excitement washed over me, tinged with a hint of nervousness.
Several years back, I was fortunate to witness this truly unique show at the renowned Garrick Theatre in the West End. It was an unconventional production, brimming with campy humour that was both audacious and uproariously funny. From a director's standpoint, I can only imagine the sheer challenge it presented.
I'm surprised at how many amateur societies are taking up this show. Several are already gearing up to put it on in the Southeast London area alone.
As a theatre enthusiast, I'm always intrigued by how large-scale productions are adapted for smaller stages, particularly when they are taken on by the plucky Amdram Underdogs. I must admit, I often feel a sense of apprehension and, at times, with good reason. Shows like Wicked, Mary Poppins, Into the Woods, and, in the context of this review, Young Frankenstein, are so grand and larger-than-life that it's hard to imagine them in a more intimate setting.
And with that thought, I made my way through a few sleepy streets on a Saturday afternoon to Farnham Maltings, an art centre in the heart of town.
As I settled into my seat, my initial apprehension began to fade at the sight of a live orchestra. It's a common temptation for some societies to opt for pre-recorded tracks (if available) to save on costs. However, musicals of grandeur and spectacle like this one must be accompanied by live music to uphold that unique theatrical energy and spark - what we, as an audience, can only describe as 'magic.'
As I settled in, the curtain rose, and the show began. Let's delve into FAOS's Production of Mel Brooks' Young Frankenstein!
FAOS quickly washed away my worries down the theatrical sink, never to be seen again. The principal cast, led by Nick Lang (who played Frederick Frankenstein), carried the show and gave strong performances. The director, Heather Legat, made excellent casting choices for the production.
The company numbers were also a delight, with people of all ages populating the stage as students, railway passengers, and villagers throughout the show. At times, however, the space felt a tad too crowded for the choreography to land as well as it could have.
I must commend Heather and the team for their clever use of set design. This show had many moving parts, quite literally, which was impressive from a scenery point of view. The bookcase as the secret passage was an eyebrow-raiser for all the right reasons. The pacing at times was stunted as the lights stayed up for a few set changes, but that didn't last long.
I was intrigued by a small detail in the last show we reviewed (Oliver!). I noticed that the production team members who moved the set on and off were dressed in poor Victorian attire, wearing flat caps and such. It was a subtle touch that made a big difference. And from that, I imagined the backstage crew in this production having ghoulish face paint or something similar. I know it's a bit out there as an idea, so I'm open to someone telling me I'm being a bit silly sausage, which can often be the case, I must admit.
One of the highlights of my Saturday Matinee was hearing the show tunes again, many of which I had forgotten. I was safe in the hands of Diana Vivian (Musical Director) for a trip down melody lane. If I were to list a few of the highlights, I have to start with my favourite. 'He Vas My Boyfriend', performed flawlessly by Rachel Davison, who played Frau Blücher (cue horse noise). Racheal captivated the audience with just a facial expression - she deserves commendation.
Another song that stayed with me was 'Roll in the Hay' - what larks! Victoria Howard-Andrews, who played Inga, was exceptional. Not only did she capture every nuance of her character, but she also had a voice worthy of the West End. That girl can sing! A standout among standouts.
Everyone involved played their part well. The bromance between Tony Carpenter (Igor) and Nick Lang (Fredrick Frankenstein) throughout the show was a particular highlight for me, and both had great comic chemistry. Speaking of chemistry, Alexandra Yates (Elizabeth Benning) and Tom Ellenden (The Monster) were electric together - pun intended - in a 'Beauty and the Beast'- unlikely romance.
Overall, I thoroughly enjoyed my first FAOS show. It was energetic, engaging, and deliciously funny. I hope to be invited back for future productions.
Reflecting on the journey back to London on Amdram and community theatre, my thoughts lead to this conclusion: The arts and local involvement have always been closely connected and essential for community engagement and unity. Unfortunately, this recognition has been decreasing, leading to the disappearance of numerous century-old societies in recent decades. It felt like we were on life support for a long time, and in some cases, we still are. However, I am reminded of the true meaning of Amdram and the word "amateur." "Amateur" is Latin, and it means " to love."
So, if I were to draw one conclusion about Amdram's broader future after seeing this show, it's this: IT'S ALIVE!
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