By Neena R. Strichart
Once in a while, I get the chance to attend a theatrical performance in order to write a review for the paper. Most of the time I go, take notes, go home and write the review, turn it in for publishing and that is the end of the matter. This week, my task was to put in writing my opinions regarding the Pantages production of the new musical Young Frankenstein (see page 8 for my formal review).
When the show was over and Steve and I were driving home, I knew a standard review would not tell the full story of the evening we experienced. I knew I’d be writing a personal sidebar filling our readers in on the juicy back-story. Well, I think it’s juicy.
The evening starts with me fighting an enormous crowd in order to get to the media table to obtain my reserved tickets. It’s a good thing I’m not claustrophobic because the people (and paparazzi) were five or six deep milling around trying to get a look at the red carpet arrival of Mel Brooks and Cloris Leachman, as well as a dozen or more other celebrities. All I wanted to do was get my seat assignments and get into the theatre. Finally, with tickets in hand, we walked up to one of the ushers who informed us that we were to be seated up front in row F. What? How is that possible? I mean, I know the Signal Tribune is important, but really, four rows from the stage? We hit the jackpot. Making our way down front, we found ourselves face-to-face with the likes of Mel Brooks, Shirley Jones and her hubby Marty Ingels. In fact, Elliott Gould and I were practically nose-to-nose. Once Steve and I composed ourselves, and he gathered as many autographs as possible (sans Mel Brooks), we went to find our seats. Uh oh! There was someone already in them. We compared tickets and discovered that we were indeed to be seated in row F, but row F in the mezzanine (fancy word for balcony).
A little embarrassed, but through no fault of our own (thanks to the usher for sending us down front to rub elbows with the posh set, even if it was for just a few minutes), we made our way up the long aisle, took the stairs, found our seats, in row F, and settled in to watch the show.
As I state in my review, I loved the show, and in some ways I think the musical stage version added more depth to the movie’s storyline. Looking back, I realize now part of the reason is that the musical adaptation is live and in COLOR. Duh! The movie was filmed in black and white. No wonder the sets and costuming seemed so bright and nearly 3-D-ish on the stage. It’s a bit like considering the movie Young Frankenstein to be equivalent to the Kansas scenes in The Wizard of Oz, while the stage version is more like the Technicolor Oz portion of the film. Both certainly have their merits.
Once the play was over, we were thrilled to see Mel Brooks walk to the center of the stage to greet the audience members. “I got goosebumps— this is a great great cast— incredible ensemble,” said Brooks with twinkles in his eyes. He then thanked the stars of the show and ended with “This has been a great night. Thanks for enjoying it with me.”
Indeed we did.
Now if that wasn’t enough, on our way out, we ran into Cloris Leachman, who graciously introduced Steve and me to her daughter, son-in-law and some of their friends. Ms. Leachman said she loved the show but seemed more interested in what I thought. Well, I couldn’t have been more honored. Her portrayal of Frau Blucher in the film version of Young Frankenstein was comedic brilliance. I could hardly believe I was standing there comparing notes about the evening’s performances with her. Actually, the conversation she was more interested in having was about what a fabulous cook her daughter is. Ms. Leachman actually said her daughter is the best cook “in the world.” I said, “Wow! In the whole world?” She nodded in agreement. Hmmm!maybe we have a new Food Network star about to hit the airwaves. Bet that would be a great show!
