Young Frankenstein – the Musical – Liverpool Playhouse

Writer: Mel Brooks and Thomas Meehan

Director: Nick Winston

If there is one thing Young Frankenstein (the 1974 Mel Brooks classic, adapted for the stage by Brooks and Thomas Meehan) guarantees, it is that subtlety will not be joining us for the evening. Instead, this musical adaptation jolts onto the Liverpool Playhouse stage with a crack of lightning and the creaking of old doors.

The plot kicks off in familiar fashion: Dr Frederick Frankenstein – or as he insists, “Fronkensteen”  arrives in Transylvania to face the legacy of his infamous grandfather. Daniel Brocklebank steps into the lab coat with committed gusto. While his accent occasionally wobbles much like a freshly reanimated corpse, his vocals are powerful and his overall performance convincing, especially as he spirals deeper into mad-scientist territory.

But, in true Brooks fashion, it is the supporting cast who do much of the heavy lifting in the comedy department. Curtis Patrick’s Igor is the wide-eyed heartbeat of the whole show. His physicality is outstanding, from hunched shuffles to high kicks — Patrick delivers his lines with a precision and playfulness that make him the standout of the night. Whenever he is on stage, the show sparks, and not just from the jolts of electricity.

Another exceptional performance comes from Amelia Adams as Elizabeth Benning, who begins as a shrill, high-maintenance fiancée: all nasal vowels, pristine poise and zero interest in physical affection. By Act Two, however, she has descended into sultry chaos after, in true Frankenstein fashion, falling head over heels for the newly created Creature. Adams’ transformation is a riot. She plays it boldly and brilliantly, and when her vocals settle into that warm, powerful chest voice, it elevates the entire show.

Speaking of the Creature, Pete Gallagher is a booming, lumbering giant who softens into a surprisingly distinguished gentleman after some… transference. His arc mirrors the heart of the story: that even the stitched-together and misunderstood can become irresistibly lovable. The audience adored him.

The only dampener of the evening came in the final stretch, when Julie Yammanee (Inga) suffered an injury. Up until that moment, her performance had been an utter joy, with thrilling vocals, buoyant innocence and just the right amount of bawdy humour. Jessica Wright stepped in for the last twenty minutes, delivering a perfectly respectable performance under sudden pressure.

Not all jokes land, but when they hit, they are brilliant, earning those well-loved Mel Brooks belly laughs. The production gleefully embraces the film’s legacy while carving out its own energy onstage.

The world of Young Frankenstein is stitched together with imagination thanks to Sophia Pardon’s clever set design and jolted fully alive (It is alive) by Matt Powell’s video and projection, which keep the looming gothic world playful rather than oppressive.

By the final bows, the show is a lewd homage to a cult classic, resurrected by a cast that leans into the absurdity. A fun evening of theatre, and certainly not one to miss.

Runs until 3 Jan 2026