A night on the town with Mel Brooks

Young Frankenstein is my favorite Mel Brooks film, and one of my favorite movies of all time. So when my husband pointed out Young Frankenstein the Musical in the Kennedy Center magazine I simply didn't have the strength to resist.

Luckily, my husband appreciates Mel Brooks, and so do a couple of our friends, so we were able to make quite a night out of it. With music and lyrics by Mel Brooks himself I didn't think we could go wrong.

The evening started with dinner at Brasserie Beck on K street. I ordered a fillet with green peppercorns and cognac sauce, and it was amazing. But the gateau of chocolate was nearly lethal. I wish I could remember the wine we ordered, but I wasn't paying close enough attention. In the end all I can really say is that I thought dinner was fantastic.

After a leisurely meal we drove to the theatre just in time to get settled before they dimmed the lights. The Kennedy Center is a great venue for the performing arts (even if their statue of Kennedy leaves much to be desired), and our seats offered a clear and comfortable view of the show.

Roger Bart (from "Desperate Housewives", apparently, but also Carmen Ghia in The Producers) plays young Frederick Frankenstein, the grandson of the late Victor von Frankenstein. A humble professor of medicine, Frederick fights his family legacy, even after he learns that he is the sole heir to his crazy grandfather's land and fortune. However, the pull of the "family business" proves too much, and Frederick finds himself singing and dancing down the same path of his deceased relatives.

Roger Bart is a fantastic Dr. Frankenstein. Pulling not only from Gene Wilder's original representation, but also seemingly from characters such as Leo Bloom of The Producers (or maybe his former part in the most recent film), Bart makes the role his own while still giving the audience a bit of the doctor that has long been familiar. Bart's Frankenstein is more of a showman than a mad scientist, and he skillfully translates the role from film to stage musical.

The rest of the cast, however, leaves something to be desired. No one else in the cast seems to evolve in their role, and resorts to shouting or exaggerating the dialog as if to play up the film references without actually acting out the part. Their portrayals left me longing for Teri Garr, Marty Feldman, and Madeline Kahn. However, Roger Bart's performance and Mel Brooks' musical compositions pull it through, making Young Frankenstein the Musical a delightful stage production, and a treat for every Mel Brooks fan.

"Deeeep, looooovvveee....."

As You Like It at Sidney Harman Hall

Last night my partner and I attended a performance of William Shakespeare's As You Like It by the Shakespeare Theatre Company at Sidney Harman Hall.
Thanks to some confusion over the location of Sidney Harman Hall and parking difficulties (which I'll admit were my fault) we did not make the curtain, but were seated by the end of the first scene.*

Directed by Tony Award-winner Maria Aitken, The Shakespeare Theatre's current production takes a look at Shakespeare's romantic rump in its original role as entertainment. Presented in imitation of classic American historical films, Aitken takes the audience through an evolving trip that emphasizes both the nature of performance itself, and the universality of Shakespeare's play (which was itself borrowed from other sources, like much of his work). On a stage framed with film canisters and lit from the sides by large "cameras", the actors move through scenes beginning with a stark and Puritanical setting, and travel through pilgrims landing in North America, Valley Forge, the Civil War, the roaring 20s, and end with a number worthy of Audrey Hepburn or Marilyn Monroe, tripping through many recognizable and entertaining film styles in between. Complete with camera crews, a director, and on-stage set and costume designers, As You Like It is a theatrical spectacle of the most entertaining sort.

All major roles are well-cast, and Floyd King as Touchstone, Anjali Bhimani as Phebe and Aubrey Deeker as Silvius are especially delightful. There is wonderful chemistry between Francesca Faridany (Rosalind) and Miriam Silverman (Celia), and Andrew Long as Jaques is sure to please. However, I maintain that the best role belonged to that of the costume designer Martin Pakledinaz - with so many costume changes and so much to choose from Pakledinaz makes full use of the creative potential, and really makes each scene with a keen eye and attention to detail.

The run has been extended until December 22, and I highly recommend attending a performance before you miss your chance!

*** Photos by Scott Suchman, and borrowed from shakespearetheatre.org

*If you're ever late to a performance by the Shakespeare Theatre company, don't fret! They mark the time between scenes so they can seat late-comers without disturbing the audience members who actually plan better. As an added bonus we had purchased end-row seats, so we got in with limited fuss. Whew!