Mel Brooks' Young Frankenstein

Mel Brooks, Thomas Meehan

Hope Mill Theatre

Hope Mill Theatre, Manchester

October 10-November 30, 2025; 2 hrs 20 mins

(also at Liverpool Playhouse, December 3-January 3

Give him an extra dollar... Dr Frederick Frankenstein demonstrates his medical prowess in Mel Brooks' musical Young Frankenstein at Hope Mill, Manchester. All pics: Mark Senior

What would Manchester do without Hope Mill Theatre’s commitment to high-quality musical productions? What was the city’s theatrical scene like before the boys from the mill opened their doors a decade ago?

Thankfully, another extraordinary show, Mel Brooks' Young Frankenstein, means we don't need to contemplate the difficult answers to these questions.

In recent months the theatre has begun staging some of its large-scale productions in other venues. Venues that can host bigger casts, venues with larger capacities to increase bums on seats. Anyone worried whether this signalled an end to ambitious shows on the original tiny stage can rest easy - if they aren't bent over in fits of laughter at this silly, special spectacle, that is.

A stage adaptation of Brooks’ 1974-vintage horror parody, Young Frankenstein tells the tale of the grandson of the infamous scientist. Frederick (Ore Oduba) may be a doctor too, but he has abandoned Transylvania for New York, rejected Victor’s methods and even pronounces his surname differently. 

But after discovering he has inherited his grandfather’s estate, Frederick agrees to make the journey to Transylvania to connect with his past. The past, needless to say, does its very best to make sure history is repeated.

To call it a spoof with songs doesn't quite do Young Frankenstein justice. This is also a tribute to classic stage comedy, and a love letter to musical theatre.

You'd be hard pressed to find a better run of numbers than the first five in this show. Each one threatens to steal the show... before another comes right along to have a go.

Oduba oozes comedic and acting ability in The Brain as Frankenstein explains his scientific approach to his pupils. A traditional dance number of the kind that leaves you gobsmacked at what the Hope Mill Theatre can achieve in such a small space.

That's straight into a song for Frederick's fiancee, Elizabeth (Rhiannon Chesterman), before numbers to also introduce fellow grandson Igor (Curtis Patrick), lab assistant wannabe Inga (Julie Yammanee) and the housekeeper with a wandering accent, Frau Blucher (Jessica Martin).

Within the space of a few minutes the audience is fully up to speed with the main characters, the story is set, good taste has firmly been left at the door and the stupendous quality of both the source material and delivery is clear to all.

Brooks reunited with The Producers co-collaborator Thomas Meehan in the original creation of the show, and their absurd influence is all over the daft lyrics and old school slapstick and vaudeville.

The words are so delightfully silly you'll want to go back and read them afterwards. The gags are laugh out loud low brow, and theatre aficionados will enjoy spotting the songs that spoof classic shows like Wicked.

Director and choreographer Nick Winston has clearly worked hard to bring the show to life and to keep the slight insanity under control. The Charleston-inspired routines are a total joy.  

One gets the impression this has been a labour of love for the entire creative team. They are supported by a group of leads and ensemble that are all, genuinely, perfectly cast. With his eyes and facial muscles in overdrive, Oduba is a sight to behold. What a gift for theatre audiences that he has so wonderfully made the transition to stage superstar.

As the Monster, Pete Gallagher is a towering talent. Simeon Truby gives two bonkers, brilliant, performances. Chesterman too is a showstopper, while Patrick is clearly an actor to watch, with proper comedic chops that make him impossible to ignore. You can't take your eyes off him as Igor.

There really aren't enough superlatives for this one, and that's without mentioning the lighting, set, costumes, sound effects, orchestra or video design. On the latter, stay for the credits. Yes, really.

It's a toe tapping, laugh till you cry, stupid, brilliant five-star hit. After 10 years of this high level of quality, we shouldn't be surprised.

More info and tickets here