Review: Young Frankenstein

Review: Young Frankenstein

★★★★ Hope Mill Theatre 15-10-25 by Jamie Griffiths

Hope Mill has struck lightning with Mel Brooks’ Young Frankenstein, and this time, it is most definitely alive. I have seen the show at Newcastle Theatre Royal and later in the West End, both joyous in their own right, but this new Manchester production surpasses them technically and emotionally. The intimacy of Hope Mill’s space gives the comedy and chaos an entirely new pulse.

This is the best use of the theatre I have ever seen. Director and choreographer Nick Winston makes every inch of the stage feel alive, and the creative team’s work is exceptional. The lighting, in particular, keeps the audience seamlessly connected to the action, while Ben Harrison’s sound design (a consistent Hope Mill hallmark) delivers every lyric and laugh with clarity.

Founded by Joseph Houston and William Whelton, Hope Mill Theatre has become a benchmark for inventive, intimate musical theatre. This tenth anniversary production feels like a culmination of that vision, a perfect example of what makes the venue so special. The audience connection is electric, and the result is an evening that feels both spectacular and deeply personal.

The cast are, quite simply, outstanding. Ore Oduba makes a solid and charming Dr Frederick Frankenstein, capturing the show’s mix of wit and warmth. Curtis Patrick as Igor is an absolute discovery, lighting up the stage from his first line and proving a comic natural. Jessica Martin, a long-time favourite of mine since her Doctor Who days, is a riot as Frau Blücher. She keeps a perfectly straight face while delivering some of the funniest moments in the show.

Rhiannon Chesterman delights as Elizabeth Benning, earning cheers on her Act Two return and delivering her big numbers with pure star power. Pete Gallagher brings nuance and surprising tenderness to The Monster, showing off an impressive vocal range that stops us in our tracks.

Simeon Truby steals scenes as Inspector Hans Kemp and Harold the Hermit, with masterful slapstick timing that keeps the audience howling. And Julie Yammanee as Inga is an utter joy, her vocals soar no matter how physical the role becomes, and she maintains infectious energy throughout.

Collectively, this is the best cast I have seen at Hope Mill. Every performer feels connected to the audience, and that intimacy makes this production such a triumph. It is proof that musical theatre does not need a huge stage to feel huge. It needs imagination, heart, and a company that believes in every moment.

Adapted by Mel Brooks and Thomas Meehan from the 1974 classic film, Young Frankenstein follows Frederick “Fronk-en-steen” as he inherits his family estate in Transylvania and accidentally continues the family’s mad experiments. The result is a riot of music and mischief, complete with showstopping numbers including The Transylvania Mania, He Vas My Boyfriend and Puttin’ on the Ritz.

As part of Hope Mill Theatre’s tenth anniversary celebrations, this feels like a defining moment. With design by Sophia Pardon, lighting by Aaron J Dootson, and musical direction by Francesca Warren and Charlie Ingles, it is a production that honours Brooks’ comedy while giving it theatrical intimacy and flair.

In short, Young Frankenstein is a joy. It is clever, confident, and bursting with energy, technically dazzling, musically infectious, and performed with heart. Stay for the credits. They will leave you smiling.

“Young Frankenstein” runs at Hope Mill Theatre until 30 November 2025.

Get tickets from the official site HERE