REVIEW: Silly, Cinematic “Young Frankenstein” Triumphs at Moline’s Spotlight
Seeing the giddily entertaining “Young Frankenstein” musical at The Spotlight Theatre is like watching a classic B-movie spring to glorious life.
This true “monster” of a show faithfully recreates the supremely silly 2007 Mel Brooks show, especially fitting for this sprawling gothic space, in the 1931 former Scottish Rite Cathedral at 1800 7th Ave., Moline. Penned on the heels of the hugely popular Mel Brooks musical “The Producers” (done in fall 2022 at Spotlight), “Young Frankenstein” has a book by Brooks and Thomas Meehan, and music and lyrics by Brooks. It is based on the 1974 comedy film of the same name written by Gene Wilder (who starred as the mad doctor) and Brooks, who also directed and has described it as his best film. It is a parody of the horror film genre, especially the 1931 Universal Pictures adaptation of Mary Shelley‘s Frankenstein.
Matthew Call as Frederick Frankenstein and Haley Tromblee as Inga in the song “Roll in the Hay.”
The show opened on Broadway on Nov. 8, 2007 to mixed reviews. The Broadway production closed on Jan. 4, 2009, after 30 previews and 484 performances.
Spotlight co-owner Brent Tubbs (who directed “The Producers”) had the masterstroke concept of staging “Young Frankenstein” in an entirely black-and-white color palette, which matches the iconic horror look of the Brooks film. As he’s done for some other past Spotlight shows, Tubbs also has created cinematic backdrops, often with moving pictures (like spooky flying bats), and also handles the production lights and sound.
The ensemble of Spotlight’s “Young Frankenstein,” to run through Oct. 12, 2025.
The visionary director here is Aaron Baker (who helmed Spotlight’s equally gorgeous “Anastasia” in April 2024), who expertly corrals and coordinates the talented, enthusiastic 28-person cast, blessed with fun, stylish choreography by Ellie Allen.
“Mel Brooks does not mess around when it comes to his creations. This show is massive!” Allen posted on Facebook on opening night, Oct. 3. “It’s bold, it’s grand, and it has been both physically and musically demanding for everyone involved. I couldn’t be prouder of the work this cast and crew have poured into bringing this story to life.
Sara Wegener, left, Matthew Downey, and Matthew Call.
“It’s wild, it’s fun, and it’s ridiculously good,” she said, and I wholeheartedly agree.
In addition to the standout, perfectly cast performances by Matthew Call as Dr. Frankenstein, Tyler Henning as Igor, Matthew Downey as The Monster, Haley Tromblee as Inga, Valeree Pieper as Frau Blucher, Bruce Duling as The Hermit, Andy Curtiss as Inspector Kemp, and Doug Alderman as Victor Frankenstein, the larger star of this “Young Frankenstein” is undoubtedly the tireless, always entertaining Sara Wegener.
Matthew Call and Matthew Downey in the iconic “Puttin’ on the Ritz” scene from “Young Frankenstein.”
A hair and makeup wizard in real life, Wegener is usually behind the scenes making costumes, doing makeup and styling wigs, and her stage roles have included Spotlight’s “The Wedding Singer,” “Lightning Thief,” “All Shook Up,” “A Christmas Carol,” “Legally Blonde,” “Annie” and as the iconic Squeaky Fromme in the Black Box 2019 production of “Assassins” (including yours truly as a stage partner).
For “Young Frankenstein,” Wegener was already cast in the ensemble, and due to a late withdrawal from the show by Heather Baxter Herkelman, she took on the leading role of Elizabeth last Wednesday, just two days before opening night. And of course, she killed it (she sings lead in three major songs), seemingly like she had it the whole time. Her big, brassy voice and domineering Norma Demond hauteur were a triumphant match for the part.
Part of the ensemble for “Puttin on the Ritz” with a live overhead projection (Matthew Downey in the middle), projections created by Spotlight co-owner Brent Tubbs.
Herkelman posted on Facebook that after rehearsals in unusually high heat without the AC working (it was very stuffy Saturday in the theater, but thankfully cool in the Blueprint bar), she ended up with severe heat exhaustion and couldn’t safely perform in the space. “My doctor warned me that heat stroke was a big possibility if I kept going. It was a tough situation for everyone; with the theatre and city receiving written concerns about the heat and several cast members having problems. When I shared my health status, the theatre owner was apologetic and compassionate,” Herkelman wrote. “Unfortunately, they were not able to fix the heat issue before the show went up.
“It was heartbreaking to step away from a role I’ve wanted for years, but this wasn’t a casual decision — it was a medical necessity,” she said, and the programs were altered to showcase Wegener as Elizabeth, who initially pledges her love for the excellent, fevered Call as the mad doctor (with the wild gray wig).
Haley Tromblee, left, Matthew Call, and Matthew Downey as the Monster.
“The cast of Young Frankenstein is filled with some of the most talented and supportive people I’ve ever gotten to work with on stage and they are absolutely busting their butts every night to put on a great show,” Wegener wrote on Facebook. “If it weren’t for all of their patience and understanding, this week could have been an absolute total disaster. This cast is stellar, they’ve been through a lot and they’ve thrived in spite of it.”
Matthew Call, Haley Tromblee and Sara Wegener in the new Spotlight show.
For her to thrive so thoroughly and naturally (I didn’t catch one fumbled line) is dazzling, and so impressive, on top of her herculean responsibilities putting together the extra important costumes, hair and makeup for everyone, being all in black and white (clothes, makeup and hair). I have only ever seen a similar feat on stage once before – in Los Angeles in summer 1991, a touring production of “City of Angels,” in which the real-life characters are in color but the fictional film-noir type roles are in black and white.
You will likely never see anything like “Young Frankenstein” in the Quad Cities, and the massive talent on display here is awe-inspiring. The strong voices of the leads are matched by a boisterous ensemble, all led by music director Laura Hammes. While Spotlight occasionally uses live musicians, this one uses pre-recorded tracks, which is a shame, since this sounds like such a fun show to play – especially in buoyant, brassy, exuberant numbers like “Transylvania Mania” at the end of Act I and the classic “Puttin’ on the Ritz” (the 1927 Irving Berlin hit) in Act II.
Tyler Henning, left, as Igor and Matthew Call as Dr. Frankenstein.
Led in the movie by Gene Wilder and Peter Boyle (as the monster), the latter is a real hoot, with the two men in tuxedos, top hats and canes, and Downey finally finding his voice, yelling out his animalistic lines, then a good deal of the ensemble doing a Busby Berkeley-inspired dance, with feathered fans, tap shoes, and the added cinematic flair of an overhead live projection of the performers, with Downey’s bald head in the middle.
The whole show seems a highlight reel, with songs showcasing each lead to ultimate hammy, cheesy effect, including Henning as the big-eyed, lurching hunchback, and Tromblee with a bright, beautiful voice as the leggy Inga (with a white wig).
Sara Wegener, center, as Elizabeth in Spotlight Theatre’s “Young Frankenstein.”
“Young Frankenstein” also boasts a generous helping of Brooks’s bawdy humor (e.g., “He won the three-legged race all by himself”), and offers a satisfying cornucopia of theatrical delights to meet the tastes of most all patrons.
Spotlight will continue performances at 7 p.m. Friday and Saturday, Oct. 10 and 11, and 2 p.m. Sunday, Oct. 12. Tickets are $22 for stadium seats and $27 for table (floor) seats, available at thespotlighttheatreqc.com.
Haley Tromblee and Matthew Call in “Young Frankenstein.”
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