WHAT: Gay Bride of Frankenstein
WHERE: Players' Ring
BLURB: Screwball Childish-Adult Fun
HIGH POINT: The Score and Live Band!
"Gay Bride of Frankenstein'' demands a short history lesson pre review.
As its press notes, GBoF, with book by Dane Leeman and Billy Butler, and score by Butler, had its inaugural run 15 years ago at the Ring, where it's currently on stage. It went on to an off-off Broadway production, then returned to the seacoast, both for full productions and a concert presentation.
It's rightly touted as part Frankenstein, and part Scooby Doo, leaning heavy on the Scooby fun and frivolity.
What it doesn't say is, as far as its loyal fans are concerned, this is the local-born equivalent of a Rocky Horror cult-production, and pretty much sacrosanct. It's likely it would receive fans' rave reviews if a band of chimps performed it. Luckily that's not the case here; there's respectable performances, and a killer band.
The latest incarnation of this popular romp delivers what the fans need, and a production that will likely win over new ones.
The cast is new - 15 years after all. But, to the delight of all the Monster Makers, GBoF's original band, is back, its members all well-established musicians: Butler, keys and vocals (some of the night's best vocal deliveries); Tim McCoy, bass; Jamie Perkins, drums and Jon McCormack, guitar. The Monster Makers are truly the magic ingredient in this show's success.
Okay, story-time.
It's all about four high school friends, each with a bit more backstory than the Scooby gang, who attend a spooky Halloween costume party, on a dark and stormy night.
There's all kinds of shenanigans around the affairs of the heart, -including a nefarious one.
Music blaring, hormones raging, the partying friends are initially blissfully unaware that the dastardly Dr. Shocker, and his three minions - plus an actress - are up to no good. Before the night is through some will find love, others friendship, one will be lost forever and yet another will rise from the dead.
What it all amounts to is a lot of high jinx, and coming of age fun, with a strong dose of message infused throughout.
This show is truly entertaining, but it's the music that really lifts the piece. Butler's pop rock tunes and lyrics have a lot of punch, and range. They're sassy, to deeply moving, with all beautifully crafted.
There are a lot of new faces amongst the show's fun-makers, and a few familiar ones. Overall this is a solid, certainly energetic and committed cast, as GBoF well should be.
The "gang" is Avery Fecteau as Edna, Reegan Camire as Chloe/Liza, Alex Natario as Hairy (so sweet) and Jonathan Daniel as Thad - each giving an upright performance of their cartoon characters.
Sam Bennett plays the kids' teacher, and of course Dr. Shocker.
Shocker's minions are Fury as Wolfman, Will Saxe as Swampthing and Nicole Jones (what a persona!) as the Zombie. Finally, Emily Andrews (who gives a fine performance, but struggles with her solo) is Daphne - the hired actress.
Nearly all the performers have solid, earnest voices that bring sincere emotion to their solos. But when they pair up as a duet or sing as a cast they soar; the blended sound is rich and pleasing.
In addition they collectively convey the perfect enthusiastic "teen" vibe this show relies on.
The night's showstopper is Bennett's delivery of Shocker's "Token Bad Guy," one of the production's more hilarious and conceptually creative tunes. Bennett just rips into this song; you're swept along by the sheer relish and conviction he exhibits. It's a corker scene and strong performance throughout.
The other standout performances include Fury and Fecteau. Fury's character is authentic (a real success considering it's a wolf-man), the performance - polished, pleasing, and graceful - naturally attracts the eye; it's a charming performance and Fecteau as the Goth chick Edna, delivers a consistent, interesting and realistic take on the character.
Director/Choreographer Adrienne Maitland certainly understands her vehicle. She plays up the offbeat and silliness, and keeps the energy high and the show moving, using her props and staging to great effect.
Maitland's dance routines are interesting, and well-tailored to the show and the space.
The productions collective arts are also all on point.
The set design by Leeman and Butler is perfectly arranged for mood and the necessary quick, sleek changes.
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