Pardon Me, Boy – Is This the Transylvania Sensation?: “Young Frankenstein,” at the Spotlight Theatre through October 12

English teenager Mary Godwin wrote what many consider the first science-fiction novel, Frankenstein, published in 1818 under her married name Shelley. Still wildly popular, the book has inspired stage adaptations, films, multitudes of derivative works, and endless merch. Would Shelley be delighted or horrified by this adulation and imitation? Would she demand a percentage of royalties?

In any case, her creature and his creator, literature's first mad scientist, acquired yet another twist in writer-director Mel Brooks' 1974 comedy Young Frankenstein, co-written by its star Gene Wilder. This flick also attained huge popularity, so the nearly inevitable musical adaptation of Young Frankenstein, with music and lyrics by Brooks and book by Brooks and Thomas Meehan, debuted on Broadway in 2007. Now, talented folks at the Spotlight Theatre, led by director Aaron Baker-Loo and music director Laura Hammes, are giving this seasonally apropos, demanding script an electrifyingly exuberant treatment, as I experienced on Friday's opening night.

The joyride starts when the blood-red stage curtains part, revealing a black-and-white animated projection on a huge screen, which presents the story's setting and functions as a scenic backdrop throughout. (Brooks shot his movie in black and white, one of many elements through which he paid homage to the seminal 1931 Frankenstein film.) But there's more. The live visuals – furniture, props, costumes, even the actors' lip color – are black, white, and/or gray. Conventional hair colors and flesh tones remain, except for the Monster's pallor, and critical scenes are punctuated with colorful washes or flashes of light. Brent Tubbs, who co-owns the Spotlight with his wife Sara, provided the projections and lighting design. The set is by Dana LisenBee, props by Grace Mottet, and costumes, hair, and makeup by Sara Wegener. Kudos to all for a striking, memorable palette, and a loud burst of applause for Brent as sound designer, too – the mics behaved and the music and voices were balanced.

Matthew Call plays Dr. Frederick Frankenstein (pronounced "Fronkenshteen"), an American scientist two generations removed from his recently deceased predecessor Victor in Transylvania, whose estate he must now settle. Call exhibits terrific acting, singing, and dancing skills, as well as seemingly endless energy, in this challenging role. Fans of the film will delight in the remarkably Wilder-ian pitch, timbre, and vocal inflections. It's not an impersonation, however; he doesn't parrot line deliveries, but rather makes them his own.

Tyler Henning is the contrary but lovable lab assistant Igor (pronounced "Eye-gor"). He's got great comedic timing, stellar physicality, and a compelling voice and presence. Haley Tromblee portrays the agreeable (and lovable in other ways) lab assistant Inga. She's got a winning, sprightly air, and what knockout vocals – wow, can she yodel! Beyond her design duties, the supernaturally gifted Wegener plays Frankenstein's self-proclaimed “madcap” fiancée Elizabeth with endless panache. As of Friday, she had less than two days to learn this sizable role, which includes two solo numbers, and staff and cast adapted to cover her part in the ensemble. Yes: In real life, Wegener actually stepped out of the chorus to become a star and save the show. Classic!

Versatile Matthew Downey crushes the role of the Monster with initial terrifying grunts and lunges, and later erudite tones and hoofing, all while balancing on alarmingly tall platform shoes. The über-talented Valeree Pieper portrays domestic engineer Frau Blücher with mystery, menace, and crazed passion when speaking of Victor. Accomplished actor Andy Curtiss plays Inspector Kemp, humorously and handily manipulating his artificial limbs with his good arm. Bruce Duling, meanwhile, makes an appealing Hermit, and his "Please Send Me Someone" was genuinely touching.

Young Frankenstein's 18-member ensemble boasts strong voices and accomplished dancers, and while choreographer Ellie Allen and assistant Marissa Pedersen did fine work with the whole cast, Call, Downey, and the ensemble made Irving Berlin's "Puttin' on the Ritz" the highlight of the show. A tapping chorus with canes – even projected overhead shots à la Busby Berkeley. I also salute the performers' adeptness in handling the recorded score. Along with the musical numbers, there's tricky underscoring of the dialogue, and everyone times everything just right to hit their cues.

Naturally, many of the movie's lines and gags are in this script. Some aren't, though, and if you didn't like Brooks' well scene with the little girl, no sweat; it was cut for the musical. Brooks also updated a few jokes; listen for the thoroughly modern beverage added to the menu Frau Blücher offers Herr Doktor. But I do have a few problems with the stage material – chiefly that if I hadn't seen the film, I might not have been able to follow the plot. Also, Brooks' lyrics for "He Vas My Boyfriend" are, frankly, repulsive. The singer describes being repeatedly cheated on, beaten, even stabbed, but still, she was "happy to be hurt." Yikes, dude; this ain't Carousel – 1945 was 80 years ago.

Mel Brooks, 99, is now executive-producing the series pilot Very Young Frankenstein, but you can see the doctor and his pals live now (and should allow extra time to get to the theatre, due to the Seventh Avenue roadwork). Don't miss Young Frankenstein – the Spotlight has created a monster hit.

Young Frankenstein runs at the Spotlight Theatre (1800 Seventh Avenue, Moline IL) through October 12, and more information and tickets are available by calling (309)912-7647 and visiting TheSpotlightTheatreQC.com.