Young Frankenstein is a monster hit at Wyllyotts Theatre

Green Room's production of Young Frankenstein at the Wyllyotts Theatre in Potters Bar. (Image: Steve Fothergill)

The mysterious Frau Blücher in Mel Brooks’ madcap horror spoof movie, Young Frankenstein, is so terrifying that the mere sound of her name scares the horses.

It’s a running gag that’s bafflingly hilarious – and the fact it’s equally effective in Green Room’s blistering production of the musical version is one tiny testament to the sheer excellence, on every front, that the Wyllyotts audience was treated to.

From the moment the switches were thrown, we knew that with director John Hebden at the controls we were in more than safe hands.

Green Room's production of Young Frankenstein at the Wyllyotts Theatre in Potters Bar. (Image: Steve Fothergill)

And a series of brilliant sets and costumes offered a riot of colour that belied the show’s black-and-white movie origin.

The plot follows that of the 1974 film but is almost irrelevant. Brooks, helped by his star Gene Wilder, basically stitched together a cartload of horror movie tropes and upped the craziness in his trademark pre-woke style.

We’re in Transylvania for example, Dracula’s hangout and nothing to do with Swiss/German-set Frankenstein, but it screams ‘Hammer Horror’ so does the job.

Green Room's production of Young Frankenstein at the Wyllyotts Theatre in Potters Bar. (Image: Steve Fothergill)

Frederick, grandson of the original Dr F, hates his roots, insists his name is pronounced ‘Frahnkensteen’, and leaves New York to sort out an inheritance issue in Transylvania.

Helped by Igor the henchman, complete with itinerant hump (‘What hump?’), he stumbles on his grandpa’s lab and ends up continuing the old man’s experiments.

Add to the mix a high-maintenance fiancée, a blind hermit, the obligatory horde of angry villagers, and a monster with a song and dance fixation – and two hours of pure entertainment ensue.

Green Room's production of Young Frankenstein at the Wyllyotts Theatre in Potters Bar. (Image: Steve Fothergill)

Zach Barber, the deserving star of the show, with wonderfully Wilderesque hair, gave a faultless performance, dominating the stage and the action in a beautifully engaging yet unhinged way.

Partnering Zach throughout, Sam Buckingham’s hugely enjoyable Igor fully captured the crazed henchman.

As the horse-scaring Frau Blücher, Diane Carr both acted and sang with power and just the right degree of oddness. And Frederick’s two love interests, the chalk-and-cheese Inga and Elizabeth, were superbly played by Holly Macer and Carole Anne Colford.

Green Room's production of Young Frankenstein at the Wyllyotts Theatre in Potters Bar. (Image: Steve Fothergill)

These leads were supported by an ensemble of 28 – and rarely have I seen a troupe so perfectly in synch in every way. Special mention must go to the youngest member, Rafi Mellish, whose talent and enthusiasm ensure a great theatrical future ahead of him.

Of course, the main difference between film and show is the addition of a remarkably strong score of songs, which need to be equally strongly performed – and every member of Green Room’s company did just that.

Full marks too to the sound design by Phil Stannard which, with Simon Gargrave’s musical direction and the flawless diction of the cast, let us hear every word of the tricky lyrics and spot the other musicals being spoofed.

Puttin' On the Ritz in Green Room's production of Young Frankenstein at the Wyllyotts Theatre in Potters Bar. (Image: Steve Fothergill)

Highlight was the show-stopping Puttin’ on the Ritz, performed by the whole cast and led by Will Navesey as the clomping monster.

Congratulations to everyone involved in this outstanding and polished production: it was obvious that everyone in the audience around me didn’t want it to end.

The monster and hermit in Young Frankenstein. (Image: Steve Fothergill)