At the opening-night party, several Broadway insiders, spirited not off into corners, since the Space Needle is round, but into fire exits, whispered that while they thought “Young Frankenstein” would be a hit in New York, it was not nearly as inspired nor as much giddy fun as “The Producers.”
Brooks, Meehan and Stroman will continue to work on the show before it arrives in New York.
The top priority, sources say, is cutting the first act, which right now runs a fatiguing 90 minutes. And Brooks, looking dapper in a blue blazer and red silk handkerchief, is still fine-tuning many of his jokes and lyrics. One source said he’s been “a little cranky lately” because he’s still not satisfied with his $20 million Jolly Green Giant.
“Young Frankenstein” has a lot to live up to.
Not the least of which is that $450 ticket price in New York.
It seems that the world premiere performances of the new Mel Brooks musical, “Young Frankenstein” are all classified as previews and will not be reviewed. There’s a lot more on this from Misha Berson of the Seattle Times.
“P” stands for preview. And “preview” stands for cutting the show a little slack, because the actors, technicians, designers, etc., are still trying to work out its kinks and whip that huge sucker into shape. “Preview” is also shorthand for this: Critics are not welcome yet.
But don’t blame us critics, please, if you snapped up tickets for “Young Frankenstein” not realizing that the majority of its performances in Seattle are, at least technically, previews.
Misha goes on to be bluntly honest:
But to be, well, frank with you, it’s more of a long-standing quid pro quo. Someone in the know once told me, off the record, that if Seattle critics jump the gun in attending these big tryout shows, Broadway producers will get so spooked, they won’t premiere them here in the future.