Sat. May 1 & Sun. May 2

Yes, it's another subtle cryptic look at the modern world from Mel Brooks. Ha ha. No, it's "Young Frankenstein: The Musical" or, properly, "The New Mel Brooks Musical Young Frankenstein," up through May 2 at the Opera House. Chances are you saw the 1974 film, chuckled at Young Dr. Frankenstein's insistence his name was not pronounced the way his infamous dad's was, and enjoyed the punning, the schvartze jokes, and the outrageous work of Gene Wilder, Peter Boyle, Marty Feldman and Madeline Kahn. The actors who inhabit the roles in the Broadway Across Boston musical are likely having as much fun as the original film actors. These are such juicy roles to bite into - song and dance, stupid dumb-fun humor - you see a giant pair of knockers on a door, and you just know (and you're right) that the next comment will be about Inga [Anne Horak]'s boobs - moments of tenderness, shtick and, oh yes, the Themes: Should Man Mess with Mortality This Way? and Why Do We Treat Those Who Look Different From Us Like Monsters?
The guys who played the good Dr. Frederick F - Roger Bart (in photo, who was the devious pharmicist in "Desperate Housewives") - and the Monster - Rye Mullis - had the same roles on Broadway. Now, Dr. F is the center of the show, as it revolves around his coming back to his late grandfather's castle in Transylvania, battling narrow-minded villagers and debating (not too hard) whether he should jump into the "family business." But Corey English (in photo, right) has the best role, Igor (pronounced Eye-gor), the humpback whose hump shifts from left-to-right given the act and whose glee and love of mischief is unrestrained.

Criticizing Brooks for unseeming silliness can be done. But why? Isn't it sort of beside the point? You kind of know that going in. It's what the director/choreographer Susan Stroman brings to the party and how the actors prance, mug and preen their way through it. Great bits: Joanna Glushak as Frau Blucher, the Mrs. Danvers of this production, singing "He Vas My Boyfriend" about dear departed Victor. Beth Curry - as Frederick's fiancee Elizabeth - singing "Please Don't Touch Me" at the beginning. (Old fans of the theatrical rock band the Tubes, may remember the late Re Styles singing a similar provocative/chaste tune, "Don't Touch Me There.") It's a gas watching the Monster get his stage legs to sing his and dance his way through "Puttin' On the Ritz" in tales and top hat and croacking through the vocals. (He later becomes quite linguisitc in a manner we won't reveal - not that plot points are all that essential, but why spoil the surprise?)
At two and a half hours, this "Frank" does run a bit long. But I can't say there were restless moments. The ensemble pieces were fun and the solo stints and duets were hilarious. And it's not all hammer-over-the-head - the village idiot seems to come out of a closet, the brouhaha over who to hang (somebody must, mustn't he?) mirrors today's world of bringing criminals - no matter what the evidence - to "justice."
Hey, you'll laugh, you'll groan. Mel Brooks wouldn't have it any other way.

Tuesday-Thursday it's at 7:30, Friday and Saturday at 8, Sunday matinee at 2, night show at 7:30,
Tickets: $91-$30.

539 Washington St., 866-633-7429 www.broadwayacrossamerica.com