Capitalizing on last month’s strong opening of "Damn Yankees," the Forestburgh Playhouse has another monster hit on its stage in the form of "Young Frankenstein" now playing through July 12. In its original Broadway incarnation, the show was known as “The New Mel Brooks Musical Young Frankenstein,” and with good reason. Conceived and written by the master of comedy himself, the musical version of the 1974 film of the same name owes everything to Brooks, who wrote the original screenplay with the legendary Gene Wilder, described by Brooks as “his best film.”

The musical, with book by Brooks and Thomas Meehan, showcases music and lyrics (again by Brooks) boasting more than 25 songs, none of them particularly memorable—-all of them riotously hysterical. In fact, if one were to leave the theatre humming, it would undoubtedly be Irving Berlin’s "Puttin’ on the Ritz" that can be heard in the parking lot after the curtain falls (the only song not specifically written for "Frankenstein")—but that’s OK. The giddy monster-mash of musical numbers is downright fabulous, regardless, thanks in no small part to the amazing cast of characters struttin’ their stuff on the creepy-cool set designed by Tim Golebiewski in Forestburgh, and the lightning-fast beyond-clever lyrics penned by Brooks. Directed with dexterity and wit by Larry Smigelewski and choreographed with incredible stylish zest by Andrew Chartier, the entire company performs the rapidly paced laff-riot with ghoulish glee, leaving the audience gasping for air as the jokes fly non-stop throughout both acts.

Musical director Michael Hopewell might have had the toughest job, since the words are so important in the songs, and thankfully, each and every syllable and nuance can be heard and understood, thus alleviating one of my pet peeves: not being able to comprehend the lyrics, especially in a show that is mostly sung. From what I understand, the Broadway run opened to “mixed” reviews, so perhaps it’s the magic of “The Miracle in the Forest” that brings out the best, because from my vantage point, this production is smashing.

Once again, the all-singing, all-dancing resident company is terrific and the actors are clearly having as much fun as the audience, which was SRO the evening that I attended. Stepping out of the chorus for brighter lights is Tristen Buettel (Inga), whose comic performance is bawdy and hilarious, matched with a beautiful voice that has great clarity of tone and is just plain pretty to listen to, in between guffaws. Right alongside is another company member, Liane Zielinski (Elizabeth Benning), who also shines brightly, commanding the stage and her moments in the spotlight with great comic timing, Carol Burnett looks, style, and a big Broadway voice.

The mad scientist in the center of this three ring circus, young Frederick “It’s pronounced Frahnkenschtein,” is portrayed delightfully by FBP alumnus Scott Evans, who is simply marvelous in the role. His extensive resumé makes sense as Evans owns the stage and his beautiful voice is matched note for note by his sly good looks, impish grin and quick timing, causing me to forget all about the film’s original cast. The good doctor’s performance is electrifying and his rapport with his fellow actors is a delight to behold. Brooks’ characters are so indelibly etched in the world’s psyche that I had doubts that any other performers could carry these roles off, but I was mistaken. Repeatedly.

Among those striking original film performances was that of Academy Award winner Cloris Leachman as Frau Blucher, and I’ll admit I had trepidation taking my seat. But returning FBP star Rebecca Simon (Blucher) handily erased any fears I might have had as she made the role her own and brought down the house repeatedly, especially with her show-stopping number “He Vas My Boyfriend” which, contrary to my statement above, Simons made very memorable. In fact, each and every number is a show-stopper, perhaps one of the things that confounded the early critics, who needed to find fault where little exists. Again, Mel Brooks’ genius-wit is the reason why this show works so well, but without a stunning cast like this? Well, I shudder (with fear) to think.

Some of the smaller roles are great, including Trent Blanton’s Monster, Matthew Lynn’s Inspector Kemp and Ezekiel Edmond’s Hermit, but wait… there’s more! Amidst all of this madcap, spooky mayhem is one of my all-time returning favorites, character actor Jim Bray (Igor) who careens through this production at breakneck speed with such talent, such verve, and such style that he elevates “Frankenstein" even higher than thought possible, given the level of talent that he is sharing the stage with. Bray is a wonder to behold, and I’m betting that producer Franklin Trapp is thrilled to have him on stage in Forestburgh once again, since his performance is flawless and his showmanship outstanding. Were it not for the incredible performers sharing the stage, Bray would have easily stolen the show because he’s just that good, but this time out… so are the rest. This show is so entertaining, it’s scary.

For reservations and information on "Young Frankenstein" and the rest of the theatre season in Forestburgh, go to www.fbplayhouse.org or call the box office at 845/794-1194.