Frightfully Funny Frankenstein at Gaslight

“They did the mash! They did the Monster Mash! The Monster Mash! It was a graveyard smash!”

Thank you, Bobby “Boris” Pickett for that 1962 novelty tune that topped the charts at No. 1, much to the surprise of Elvis Presley who called the popular song “the dumbest thing he’d ever heard.”

With its gimmicky lyrics and spooky cornball sound effects, it’s no wonder that Gaslight writer and director Peter Van Slyke, along with music director Linda Ackermann, used the hit as one of the songs in his latest production, “Frankenstein Lives! or The Jolt’s on You.”

Van Slyke has a million of ‘em, folks—a million of ‘em.

Regardless, Gaslight has done it again!

Very, very loosely based—and we emphasize the word “very,” on the famous novel “Frankenstein” by Mary Shelley, the Gaslight version is frightfully funny with toe-taping musical numbers that would scare only Simon Cowell.

The cast is superb, though. As an acting and music ensemble, Gaslight players reign supreme.

Tarreyn Van Slyke is coming into her own and we have been so pleased to see Tarreyn turn into a force equal to the other female regulars on the Gaslight stage. Her character was blind in this production, and she was very convincing and genuinely sweet and innocent.

Completing the trio of top notch feminine talent are Sarah Vanek as Frau Bratskellar (move over Cloris Leachman) and Deborah Klingenfus as Elisabeth, Dr. Frankenstein’s fiance, who can belt a number all the way to Park Mall—microphone or not.

The men equaled the women in talent— Mike Yarema as the Burgomaster with his fat little pot belly, red cherub cheeks and broken German pronunciation of words such as ‘durr’ for door, ‘muenster’ for monster and a ‘durk’ day. Reminiscent of Peter Sellers in “The Pink Panther.”

David Orley, always an audience favorite, has such stage presence it’s hard not to notice him, no matter how large or small his role may be. And as they say in show business: “There are no small roles, just small actors.” Orley is no small actor. As Inspector Klempff, city police inspector out to capture the Frankenstein monster, he is brilliant—even though you have to spit to pronounce “Klempff” properly. His motto: “Under my watch, there will be no hanky panky.” Or was it, “spanky panky?” Whatever!

The ever-suave and charismatic Armen Dirtadian, who played the very evil Dr. Polvard, did so with Robert Goulet charm. In our opinion. it’s pretty hard to hate a guy who can sing like he does.

His sidekick Hans, with an ever-so-obvious hump that tended to shift a bit throughout the performance, was none-other than Gaslight’s ad-lib king, Joe “cut-up” Cooper, notorious for breaking up on stage and taking his fellow actors along for the ride. If the cast members were not such pros, they could fall apart. As always, they recover, the show goes on and the audience embraces Cooper with applause and giggles.

Todd Thompson plays Dr. Frankenstein, a man torn between ridding his life of the monster created by his father and marrying his beloved, or carrying on his father’s work, bringing the Frankenstein monster to life. Thompson’s a charmer, too, and that doctor can dance!

Ah—David Fanning. The actor with local ties (mother resides in Green Valley and brothers live and work in the area) returns once-a-year from New York to perform with his beloved Gaslight Theatre.

Fanning, who thanks his wife Melinda for her support, recently played the role of Saieri in the Classics@the Point production of “Amadeus” in Catskill, N.Y.

As the Frankenstein monster, he’s as lovable as Chewbacca, only less hairy. He also wears platform shoes that would make Elton John green with envy. Fanning’s Frankenstein wants Dr. F to create a ‘friend’ for him—preferably a girlfriend.

Anyway, Fanning’s Frankenstein sings and dances like a man who’s never even had a cavity filled. This guy has been put together with a variety of body parts from unknown places and origins and he can move like John Travolta 20 years ago.

Our favorite Frankie number “Lightning Striking Again” was electric. You know this song. It’s that old Lou Christy number that requires you use your falsetto voice. For a big man—Fanning can certainly hit the high notes!

The numbers in the show were done with as much enthusiasm as one would wish and the choreography, though quite uncomplicated, looked, oh, so good from where we were sitting.

A favorite song from the show was “‘A’ You’re Adorable” sung to Frankenstein by Greta, because one of us used to sing it to her sons when they were small. (Regina Ford has no children. Guess who?)

A word must be made about the costumes—always wonderful, but this time, “spot on” as the English say. And it all began even before the show started with the German beer house costumes worn by the wait staff, complete with over-the-knee stockings adorned with a sprightly bow just above the knee. It continued with Burgomaster and Frau Bratkeller in their peasanty perfect costumes. Then Elisabeth’s wedding dress - it was the gown on the bride on top of the wedding cake — no, it was the wedding cake! Frankenstein’s costume was so clever, especially when he made his first entrance after being asleep in the crypt for so many years. We don’t want to ruin the surprise, so you’ll just have to go see it for yourself.

Following “Frankenstein,” the cast changed costumes and personas and brought the audience to its feet as they presented the “Ed Sullivan Olio.” Neckless Joe Cooper was our host, Mr. Sullivan, and he introduced each act with a corny joke and a declaration that this was a really great ‘shew’ - don’t we all remember that?

The music of New York and, particularly, Broadway was the feature of this olio. Deborah Klingenfus singing “Fever” as Peggy Lee in a most feverish tight, draped red dress had the man next to us in trouble with his wife because he couldn’t take his eyes off her.

Or David Orley doing “Hello Dolly” as himself, as Louis Armstrong and as Carol Channing. That man is, oh, so talented.

The finale of “That’s Entertainment” and “There’s No Business Like Show Business” was as bright and high-spirited as any finale should be. Oh, yes, it’s worth coming to the Gaslight Theatre on Broadway to listen to the entire cast in this finale as they welcome their favorite Broadway star, Ethel Merman! You ain’t seen nothing yet ‘til you’ve seen this.

rford@gvnews.com

Roberta Konen has a B.A. in Theatre Arts from Emerson College, Boston, Mass. She has also acted and directed for more than 25 years.

“Frankenstein Lives! or The Jolt’s On You”

Directed by Peter Van Slyke with Musical Director Linda Ackermann

When: Now through Nov. 1

Show times: 7 p.m. Tuesdays through Thursdays; 7 p.m. and 9:30 p.m., Fridays and Saturdays; 3 p.m. and 7 p.m. Sundays

Where: The Gaslight Theatre, 7010 E. Broadway Blvd., Tucson

Tickets: $17.95 and under, discounts available

Reservations and info: 886-9428