FRANKENSTEIN Reviews

The AP is Positive:

"Playing the serious Victor is a departure for Foster, best known for his comic turns in "Urinetown," "Little Shop of Horrors" and "The Producers," yet he is completely captivating in his portrayal of the tortured scientist whose creation brings not acclaim, but despair.

No comic romp, this is a sincere and faithful retelling of the Mary Shelley novel "Frankenstein or the Modern Prometheus."

The story's hard edges are reflected in the cold and industrial scenic design by Kevin Judge. Two metal mesh staircases — one short and one tall — dominate the stage, which also makes elegant use of projection screens to enhance the various locations or illustrate the passage of time. The lighting, by Thom Weaver, is starkly atmospheric, and, despite being slightly reminiscent of a heavy-metal arena concert, quite effective as well.

The spare set contrasts effectively with the beautiful 18th-century costumes by Emily Pepper — Christiane Noll's gowns are particularly lovely — and leaves the storytelling, which is almost all sung-through, to the universally talented cast. The hard-edged pop score, by Mark Baron, is heavy on the orchestration, despite the use of only six musicians. Most melodies are stuffed with lyrics (by Jeffrey Jackson, who also wrote the book) in pattern-song style..............

This "Frankenstein" brings the classic story thrillingly to life. No green giant, but you will not miss him.

http://www.iht.com/articles/ap/2007/11/01/arts/NA-A-E-STG-US-Frankenstein.php

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Times teaser:

“I passed a night of unmingled wretchedness,” pants the tortured title character in one of many a palpitating passage in Mary Shelley’s gothic novel “Frankenstein.” After passing a similar night, courtesy of the new musical version of Shelley’s tale, I can only say, “Victor, buddy, I know where you’re coming from.” The new Off Broadway adaptation of the classic monster story is not to be confused with a rather more highly anticipated Broadway production opening next week a few blocks uptown, name of “The New Mel Brooks Musical Young Frankenstein.” It is not likely to be. With nary a shriek, of either humor or horror, in its drably earnest two hours of throaty sturm und drang, this version will probably not get much of an updraft from Mr. Brooks’s coattails either. — Charles Isherwood

Variety is Negative (and funny):

"Mary Wollstonecraft Shelley's 1818 novel "Frankenstein" has been recycled again and again through the centuries and will presumably wind up as a hit stage tuner one of these days. But this ain't it. We refer to the new musical "Frankenstein," not the new Mel Brooks musical "Young Frankenstein," opening Nov. 8. The first to face the critical firing line might better be called "Old Frankenstein," or perhaps "Olde Frankenstein." The creators clearly have their eyes on "Les Miserables," but instead have landed on the heap with other Gothic monster-tales-turned-musicals like "Dracula," "Dance of the Vampires," "Lestat" and "Jekyll & Hyde."

"Frankenstein" comes from a first-time composer, first-time lyricist/librettist, first-time director, first-time choreographer and six first-time producers. Not their first shows ever -- everybody concerned has a paragraph-length bio -- but their first major New York credits. This in itself is no indication of either quality or lack of it, but under the circumstances is worthy of note. Everyone involved seems to be very much in earnest, and they deserve credit for getting their opus on in a first-class, Off Broadway production.

But there's little on view, other than some aspects of the physical production, that impresses. The score, by Mark Baron and Jeffrey Jackson, is of the Frank Wildhorn school only without strong melody. There are brief sections where things start to sound interesting, but they are lost in the mix and blasted by the sound system. The lyrics have their moments, but let's leave it at that (and gloss over such gems as "Do you like being my nanny?"/"It's a far more challenging job than many.").....................

Steve Blanchard, a long-time Beast for the Disney folk, has apparently been instructed to play the Creature as if he's the Elephant Man just back from the gym.

http://www.variety.com/review/VE1117935286.html?categoryid=33&cs=1

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These reviews are starting to hurt my eyes a bit. Wow, not a hit at all.

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Not at all surprised at all the negative reviews (Daily News was also a pan). The show was dreadful.

The Daily News is Negative:

"It's a fright all right, the new Off-Broadway "Frankenstein."

Just in all the wrong ways.

Bombastic and mind-boggling, the musical misfire, which opened last night at 37 Arts, ransacks Mary Shelley's gothic classic.

No one, creators and cast alike, comes out looking good at the end of two hours.

Book writer Jeffrey Jackson and adapter Gary P. Cohen siphon all the juice from the source material. Major events - whether it's awakening the dead, a fire, a wedding, a murder - all are rendered with the same drive-by insignificance.

A collection of 20 vaguely pop-oriented songs by Mark Baron (music) and Jackson (lyrics) form a forgettable blur and add no dimension or drama."


http://www.nydailynews.com/entertainment/culture/2007/11/02/2007-11-02_frankenstein_is_a_monster_of_a_bore.html

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The Hartford Courant is Negative:

"What "Frankenstein," the new musical produced by a team headed by Douglas C. Evans, desperately requires is a postmodern Prometheus to breathe a spark of life into the tiresome proceedings.

The handsomely produced and strongly cast show, which opened Thursday night at 37 Arts, follows the 1818 Mary Woll- stonecraft Shelley novel far more closely than the familiar movie versions. But this only demonstrates why the 1931 film by James Whale made so many changes, to become an entirely different work that can be watched again and again.

Working from a story adaptation by Gary P. Cohen, composer Mark Baron and librettist-lyricist Jeffrey Jackson have come up with a humorless and dramatically inert morality tale about the hazards of tampering with human life. The music seemingly aspires to echo Andrew Lloyd Webber, but "The Phantom of the Opera" offers much more variety. As the evening grinds by, the songs all begin to sound alike. Jackson's lyrics do not help at all, as they range from merely pedestrian to ludicrous. The words reach their low point late in Act 2, when the murderous Creature must call out "These Hands" again and again, resulting in giggles from some audience members."

http://www.courant.com/entertainment/stage/reviews/hc-frankensteinrev.artnov02,0,2127509.story

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So im guessing that they dont like it lol

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And if any paragraph ever begins with "Mr. Wildhorn..."

Too bad not a single review took note of Steve Blanchard's body.

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Here's a picture. Now save your money.

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Doesn't that photo suggest a sort of kinky KING AND I, with another verb substituted for "dance" after "Shall we...?"

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