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PLAYBILL ON OPENING NIGHT: Young Frankenstein — Welcome to TranSILLYvania
By Harry Haun
09 Nov 2007
Broadway put on the Ritz, the glitz, the tux and the klieg lights Nov. 8 to usher Young Frankenstein into the Hilton Theatre for what looks like something more than a long winter's nap.
It was a handsome set of first-nighters, nicely stardusted with name-brand comics and comediennes — everybody looking fashionably fit enough for those $450 premium seats.
On stage and off, it was a Mel, Mel, Mel, Mel world — as in Mel Brooks, the mad scientist behind this classic, constantly-quoted Karloff takeoff. He co-wrote it first as a film in '74 and now, again, as a Broadway musical — and all his camp-followers were in attendance.
At the end of the evening, he gave them what they wanted — himself, marching on stage with his collaborators after the cast had taken their bows. He introduced on his left "my co-book writer and Irish friend" (Thomas Meehan), on his right "the genius who choreographed and directed this piece of work" (Susan Stroman), behind him "the most fabulous, talented cast anybody could ever dream of," the fellows in the orchestra pit, "a guy by the name of Glen Kelly, a musical genius who arranged all this fabulous music," and then — then — he pulled an authentic rabbit out of his top hat that surprised everybody.
"A special treat," he declared grandly (and correctly), "the man who started it all, who gave birth to this idea — ladies and gentleman, Gene Wilder." And, from the wings, on came rather gingerly the original Young Frankenstein, and the room went wild — maybe even Wilder. Brooks planted a kiss on his cheek, and the two faced an ecstatic audience.
"I love this man," Brooks babbled on, "and I'm not gay." (Pause.) "Well, maybe a little."
Security was tight, and attendance was select, for the opening-night party held at The Empire State Building — the brainstorm of Robert F.X. ("Call me Bob") Sillerman, who is co-producing the show with Brooks. He picked this monument to Art Deco "because I wanted something that was consistent with the '30s theme of the show. What could be more appropriate?"
The party was confined to the crudite and the second floor, but guests did have access to the 86th floor observation deck for those inclined to a little homage to Deborah Kerr.
Wilder didn't make it to the party. In fact, truth to tell, he didn't make it to the show. He just showed up for the curtain call — as a favor to Brooks. "Gene saw the show — a matinee about three weeks ago — and loved it," Meehan said. "Mel very much wanted him to come tonight and get recognition. It was Gene Wilder's idea way back. He brought it to Mel, and they did it together so it was very appropriate that Gene was out there tonight."
Meehan was feeling waves of post-show relief. "I think it came together. It felt pretty good tonight. We don't know what we'll get in terms of reviews, but I'm happy with the audience's response. It's really been three years or more doing this. Mel lost Anne [his wife of 41 years, actress Anne Bancroft], and it was hard for him to come back, but he has been very brave and he rose to the occasion, so I'm very happy tonight for Mel."
Disneyland isn't in the cards for Meehan. He has three new shows lined up like dominos. Continued...
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