Farcical, stupid, glorious. Hope Mill Theatre’s 10-year Anniversary kicked off in style by puttin’ on the Ritz with Mel Brooks’ Young Frankenstein. An adaptation of the 1974 comedic film, this musical takes parody to a whole new level.

In a nutshell, Dr. Frederick Frankenstein (Ore Oduba) visits Transylvania after inheriting his late grandfather’s castle, and on arrival is persuaded by Igor (Curtis Patrick) to continue with the work his grandfather started. With further help from Inga (Julie Yammanee) and Frau Blücher (Jessica Martin), what follows is the standard Frankenstein story we all know and love with comedic chaos involving the monster (Pete Gallagher), Frederick’s fiancée Elizabeth (Rhiannon Chesterman) and a superb ensemble of supporting cast and ensemble.

Directed and choreographed by Nick Winston (with musical direction from Francesca Warren and orchestration from Charlie Ingles), the production leans into every cliché that leaves the audience belly laughing throughout; no matter how many times you hear the sound of that invisible horse. From the euphonious percussive echoes of the tap shoes reverberating around the intimate space, to the slapstick nature of the direction, this team has created a monster smash.

Led by Oduba, the cast oozes with charisma throughout and you begin to feel like a child again, trying to decide which Spice Girl is your favourite. Oduba is the definition of a triple-threat; smooth vocals with magnetic charm and it’s clear to see why he won Strictly, performing every routine with gusto.

Patrick is phenomenal throughout, giving an energetic, hilarious performance that almost steals the show- who can really choose their favourite Spice Girl?! Yammanee is captivating and riotous while Martin canters to success with her dry, matter-of-fact, Frau Blücher. Gallagher and Chesterman both give memorable performances with their comedy and vocals, sometimes for opposite reasons, you’ll have to go see the show to understand why…

Sophie Pardon’s set design may appear stark, clearly inspired by low-budget, 1970’s horror spoofs, but when lit by Aaron J Dootson’s dramatic and dynamic lighting design, dare I say that Hope Mill has never looked better?! The space is full of titbits for the audience to admire when not entranced by the flickering and nostalgic video design by Matt Powell; stay for the end credits, you won’t be disappointed.

Rather than me continue to tell you how entertaining this monstrously camp and high-spirited (we won’t hold it against them) production is, click here to book tickets while it plays at Hope Mill Theatre until 30th November before popping down the road for a month at Liverpool’s Playhouse.

Tickets received in exchange for an honest review. #AD

Photography by Mark Senior.