Curtis Patrick joins the cast of Young Frankenstein The Musical at Manchester’s Hope Mill Theatre, taking on the role of Igor in Mel Brooks’ riotous stage adaptation.
The production marks the regional premiere of the musical and celebrates Hope Mill Theatre’s 10th anniversary with a star-studded cast led by Ore Oduba.
Young Frankenstein The Musical runs from 10 October to 30 November 2025. Tickets are available here.
You’re starring in Young Frankenstein The Musical at Hope Mill Theatre, what can you tell us about the show?
I’m going to have to try my best to not gush over everybody and everything in the show off the bat (pardon the pun 🦇). I am head over heels with the material, with the cast, and with the artistic direction we’ve taken. It is simply sublime.
When the audition came through for this, I jumped at the chance. I think nowadays in musical theatre we are neglecting these divine classics in order to make way for commercial movie adaptations. It’s so refreshing to be back in a room doing exactly what I trained to do: camp, golden age, MUSICAL. THEATRE.
The show is a parody of the well-known Frankenstein movie that we all know and love when it comes to the spooky season. We meet so many colourful and excellently delivered horror movie character tropes—from the quirky leading man, the decrepit sidekick, the ingénue, the loveable monster, and the kooky local inspector.
Mix all that with a score full of show tunes that will be stuck in your head for days and outlandish character acting that doesn’t let you come up for air between belly laughs, and you have the recipe for a fantastic show. And that’s exactly what I think we’ve created here: pure joy.
If you love the classic movie, you are going to adore this show. In its simplest form, it’s unadulterated fun and escapism from the forever terrifying world we now live in—which I believe is the arts and theatre’s job at the moment: to provide relief and heart in otherwise scary times. We only have loveable monsters in our show, not the scary ones that are in charge at the moment.
Igor is such an iconic character, how have you approached bringing your own interpretation to the role?
It was such an honour to even be considered to play this role. Whilst rehearsing, I’ve noticed just how many iconic moments and one-liners this little lab assistant has.
I’m inspired so much by character comedy, physical comedy, and clowning, so it has been a dream to incorporate all of those things within this one role. I always say I’m one step closer to a clown than a musical theatre performer.
From the beginning, I knew I wanted to pay homage to Marty Feldman’s portrayal in the 1974 movie—I believe it’s pure perfection. His crisp parody mannerisms had me chuckling from a young age, so I knew it was essential to keep some of those instantly recognisable eye and body movements.
In terms of my own Igor, I tried my best not to look at any musical interpretation of the character before starting. I didn’t want to take on anybody else’s work. I love playing and being as creative as possible, and I feel this way of working is perfect for a character like this.
I’ve filtered all of Igor’s moments through the (kooky) mind of Curtis to see where it comes from within me. Like myself, I think he relies on his wackiness to deal with his negative feelings. Before meeting Frederick, he’s been alone, unable to fulfil his lifelong dream of being an assistant. So his constant excitement and love bombing come from finally belonging to a purpose.
What I’ve realised as we’ve started to run it is there’s so much of myself I’ve given to Igor—my dry wit and facial expressions that can’t hide a thing. This makes it feel a lot more special, as I do feel like he’s my little boy.
Working alongside Nick, I feel like I have fully found and formed my version of this legendary character, and I am beyond excited to share it with everyone. I could put very good money on the fact that you will have never seen an Igor dance like this one. The best way I can describe him is if the Duracell bunny was drawn by Tim Burton.
Mel Brooks’ comedy is legendary, what’s it like performing in a show with such a distinctive style?
I recall so vividly watching the original Young Frankenstein movie with my Grandad when I was younger. He would always parade and perform for me as the monster, which had me in hysterics. So I’ve always had a recollection of Mel Brooks’ comedy stylings.
It wasn’t until I started studying theatre and the history of musical theatre that I realised just how much I adored him. I think his writing is a genius level of stupid—it takes a very clever man to provide this type of joy and laughter.
It’s not only the comedy that catches you out, it’s the pure heart. That’s what makes you feel so safe to laugh at the silliest of jokes. No matter what’s going on in my personal life, no matter what stress I’ve endured the previous evening, I know I can go and fully immerse myself in genuine light and laughter in rehearsals.
There’s an absurd realism to it. Even though every situation our characters are put in is so outlandish, to them it’s REAL and it’s life or death. For me, when delivering comedy you have to go all in or don’t bother—especially with Mel Brooks’ writing. The commitment is the pixie dust.
The tricky part has been the precision that the comedy requires. You can’t just throw it at a wall and hope that it sticks—you have to be meticulous with how you phrase it, how you physicalise it. This has meant that even when we are doing some of the scenes, it feels like a routine. There can’t be a toe or a claw out of line.
You’re working alongside a stellar cast including Ore Oduba, how has the rehearsal process been so far?
I am one very lucky guy because this is my second contract with the glorious Ore Oduba—I was actually his cover on the Pretty Woman UK Tour. Any time I get to spend with that angel of a man, I feel so blessed.
Not only is he so charismatic and perfect to lead a company, but he’s also one of the nicest people I’ve had the pleasure of knowing. Nothing but light. To get this opportunity to be his right-hand man, I couldn’t have asked for more.
I also just finished Nerds up at Fringe with Julie Yamanee, and she is exactly the same—talent that knows no bounds whilst also being an incredible person. I feel super lucky to have that base of love and support with those two in the room.
The rest of the cast are just pure class acts. Each person in their own way is a genuine powerhouse. I’m learning so much from everybody. The cast has been rooted in creativity and playfulness from the beginning, creating the safest place during the rehearsal process to laugh and do exactly what we all adore doing.
Huge shout out to the whole ensemble—I have never seen such a precise, talented, and convicted group. Not only is their dancing beyond comprehension, but they have had me cackling every single day. Special bunch!
Hope Mill Theatre is celebrating its 10th anniversary, what does it mean to be part of this milestone production?
This is my first time performing at Hope Mill Theatre and I am so excited to be a part of its legacy. It’s such an honour to be celebrating its 10th birthday with this show. I think for the occasion and the theatre itself, it’s perfection.
I’ve seen so many bits online and heard amazing stories through friends from the Hope Mill, and it just looks like the epicentre of creativity. The programming, in my opinion, is the best in the country. They know how to capture the mind and attention of punters and theatre lovers alike.
There are just so many classics that have either happened or are planned to go ahead. For me, it’s when you look at the alumni of the Hope Mill and see what they’ve gone on to achieve and do within the theatre industry. There must be magic in the walls, and I cannot wait to experience it for myself.
What would you say to anyone thinking of booking to see Young Frankenstein The Musical?
Less thinking, more doing. If you’re even slightly thinking about booking tickets, do it—right now, pause reading this sentence and go book the tickets. I swear on my hump, you will not be disappoint!
If you’ve not yet thought about buying tickets, then we need to get the brain transferring machine. I promise you will be gutted to have missed this spectacle.
If you are looking for an incredible night out this autumn, we have got you covered. Satisfaction guaranteed. I can’t gush over the show anymore—you’re just going to have to come see what all the hype is about yourself.
Frankenstein’s Castle doors are open and waiting for you. It’s been a pleasure to spill my wee frankenheart out for Theatre Weekly. I’ll see you all in Manchester.
