Review: 'Young Frankenstein' one of best shows of the season; 'Silver Threads Two' is fun

It’s Halloween a little early in West Harwich. The Cape Cod Theatre Company/Harwich Junior Theatre is celebrating the season with a musical, laugh-filled foray to Transylvania, the hometown of a legion of ghosts, ghouls and monsters, including, in this case, Frankenstein’s monster.

“Young Frankenstein” is based on Gene Wilder’s 1974 film of the same name, and this musical version was penned by Mel Brooks and Thomas Meehan (with music and lyrics by Brooks), so you know from the outset it’s going to be a laugh riot. But both the amount and quality of the music is a pleasant surprise. Who knew a trip to Transylvania could be so much fun?

About the production: “Young Frankenstein,” book by Mel Brooks and Thomas Meehan, music and lyrics by Brooks, based on the 1974 film by Gene Wilder, director and musical director Bob Wilder, presented by the Cape Cod Theatre Company/Harwich Junior Theatre.

What it's about: The show opens on an ensemble number “The Happiest Town in Town,” as Transylvanians declare their unfettered joy that the death of Dr. Von Frankenstein has freed them from the specter of the diabolical doctor’s dastardly experiments. This is where we first meet Inspector Hans Kemp (Liz Argo), who is determined to ensure the town remains free of Frankenstein madness. Remember this character from the film, with his eye-patch and wooden arm and leg? Argo plays him flawlessly throughout, with lines like: “That surgery cost me an arm and a leg.” (More on that later.)

Enter young Dr. Frederick Frankenstein (DJ Ormond), a brain surgeon back in The States. In a musical tribute to his work, “The Brain,” the good doctor expresses his undying love for this particular organ. (Ormond’s voice is so strong and sure from the very start, you just know this show is going to be a musical tour de force. Again, more on this later.) And in “I’m Not Frankenstein,” he declares that he is Frederic Frankenstein. But wait: you knew his denial couldn’t last for long. And of course the telegram comes informing him his grandfather has died and left him his estate in Transylvania, and so he’s off on the first steamer.

But before he leaves, we meet his paramour, the glamorous and arrogant socialite Elizabeth (Anne Vohs). In the song “Please Don’t Touch Me,” she cements her image as an untouchable goddess. She and Frederic dance without touching (quite a feat), with the ensemble joining them in the untouchable dance number. Vohs is the perfect femme fatale until — well, if you remember the film you know what happens. (Remember Madeline Kahn in the role?) If not, I won’t spoil the surprise.

So the good doctor is off to “settle the estate,” and upon arrival meets Igor (Rick Smith), his grandfather’s faithful assistant (Think Marty Feldman), complete with black-hooded robe and a hump that strangely keeps moving from one side of his back to the other. In the lively musical dance number “Together Again” the pair declare undying devotion. (Smith is great fun throughout, with his perfect delivery of quip after quip.)

Then we meet Inga (Madison Mayer), and we know from the beginning Elizabeth’s days as Frederick’s love interest are numbered. Mayer is fun and flirty from the start, as she and Ormond set the slightly bawdy tone in “Roll in the Hay.”

Then there’s Frau Blucher (Mary Rice) whose name signals a horse’s whinny every time it’s spoken. In the hysterical number “He Vas My Boyfriend,” she declares her undying love for the dearly departed Victor (Zack Johnson), who appears in Frederick’s dream. Along with an entourage of ghouls, he sings “Join the Family Business.” Who could forget The Monster (Matt Gardner), who seems to become the seven-foot undead wonder? And how about Ed Donovan, as the blind hermit who inadvertently and amusingly tortures the poor Monster.

Highlights of the show: The show is a package of fun-filled moments, music and dance numbers throughout, thanks to the expertise of director/musical director Wilder and choreographer and stage manager Suzette Hutchinson. In a way, the whole show is a highlight of the Cape theater scene. I never stopped laughing, and everyone in the audience did the same. I still laugh every time I think of Argo’s Inspector Kemp, and Ormond’s and Smith’s delivery of the ongoing “hump” joke. Then of course, there are the uniformly professional musical numbers, with Ormond’s delivery particularly striking.

Worth noting: The uniform excellence of the show is testimony, in part, to the experience of the performers. A few examples are Argo, who literally grew up in the Cape theater world, Mayer, who has performed in theaters all over the Cape, including Provincetown Theater, the Wellfleet Harbor Actors Theatre and Eventide Theatre Company and Vohs, whose portrayal of Adelaide in the 2022 Academy of Performing Arts production of “Guys and Dolls” remains unforgettable.

Go or no-go: Again, this is a highlight of the current season. See it!

One more thing: A huge screen at the back of the stage with black and white background shots was very effective.

Another note: The theater rates the show PG 13, based on some of the suggestive lines and scenes. But there is nothing overt that would really offend youngsters.

If you go: Through Oct. 29, 7 p.m. Fridays and Saturdays, 3 p.m. Sundays, 7 p.m. Thursday Oct. 19 and 26, Cape Cod Theatre Company, 105 Division St., West Harwich, 508-432-2002, www.capecodtheatrecompany.org; adults $35, youth $18.

Sue Mellen

'Silver Threads Two' is sequel of Linda Ronstadt's collaborations, especially with Eagles

On Oct. 7 and 8, Falmouth Theatre Guild presented a limited edition run of “Silver Threads Two: Get Closer, A Musical Tribute to Linda Ronstadt.”

This is a sequel to “Silver Threads,” an original show written during the COVID-19 lockdown by neighbors Sonia Schonning and Marcia Wytrwal, while their dogs played in the backyard.

The first show, staged by Cape Cod Theater Company, Cotuit Center for the Arts and Barnstable Comedy Club focused on Ronstadt’s solo hits while this sequel looks at her collaborations, especially with Glen Frey, a founding member of the Eagles.

“That’s why I’m here,” quipped Zack Johnson, who joined a trio of women vocalists that included Schonning, Sara Bleything and his mom, Lynne Ruberti-Johnson.

The mother-and-son duet of “Somewhere Out There” (which Ronstadt recorded with James Ingram for the 1986 animated film “American Tail”) was a tear-jerker. Ruberti-Johnson dedicated it to her husband, and Zack’s father, who died and to anyone else who looked for lost loved ones in the starry sky. The Johnsons sang in perfect harmony.

Here’s a bit more about the show:

“Silver Threads Two" was written by Schonning and is focused on Rondstadt’s collaborations with the Eagles, Aaron Neville and James Ingram. There are 20 numbers and an encore, presented in two acts with a 15-minute intermission during which snacks and drinks (wine, etc.) are sold. Total playing time is about 90 minutes.

Highlights and lowlights: Bleything nailed soft ballads like “Hasten Down the WInd,” creating a shimmering vulnerability, but got lost in the loud instrumental numbers. Schonning brings Ronstadt’s throaty sound to life the best while Ruberti-Johnson is especially good with harmonies. As the only male voice, Johnson stepped in frequently. I liked that the quartet made “Hotel California” its own with each woman handling a verse and Johnson on the chorus.

The band – Rick Schonning on keyboard, Mark Van Bork on guitar, Ben Sloan on bass and Evan Eldridge on percussion – do a fine job. Van Bork’s amplified riffs especially evoked the era of the songs.

Interesting fact: Schonning comes by her Ronstadt knowledge naturally: The writer/performer not only grew up listening to Ronstadt, she was a wedding singer in the years when Ronstatd’s love songs were on every first dance list.

Gwenn Friss

This article originally appeared on Cape Cod Times: Review: 'Young Frankenstein' is great show with experienced cast