“If you're blue and you don't know where to go to, why don't you go ...” see Maine State Music Theatre's production of Mel Brooks' “Young Frankenstein. ”

If you're a fan of Brooks' 1974 movie of the same name, you'll be a fan of this musical. All the great bits are here. With Brooks as the author of the book, lyrics and music, an incredibly talented cast, outstanding, I repeat, outstanding choreography, superb sets and special effects, this show could possibly be your favorite musical of the summer — even if you're unfamiliar with the material.

For those who might not be familiar with “Young Frankenstein,” it's Brooks' parody of Mary Shelley's novel, “Frankenstein,” and those fabulous horror movies of the 30s and 40s.

Jeremiah James plays Neurosurgeon Frederick von Frankenstein (pronounced Fronkensteen) is the grandson of an infamous scientist, Victor von Frankenstein (not Fronkensteen), known in Transylvania for his gruesome experiments, particularly those involving the reanimation of a corpse.

The respected Frederick has taken great pains to blur any connection with the Transylvanian side of the family. All is going well on that score until Frederick receives a telegram informing him of Victor's death — and his inheritance of his grandfather's Romanian estate.

Victor's new hands-off, self absorbed fiancée, Elizabeth (Jessica Lee Goldyn), sees him off at the dock before he sets sail, sans kissing or touching of any kind.

Just off the train outside of Transylvania, he is met by Igor (that's I-gor, played to the hilt by Robert Creighton) a hunchback with a moving hump, who is taking him to the castle in a hay wagon already carrying a buxom, rather dimwitted (or is she?) blonde, Inga (Missy Dowse).

Igor took the liberty of hiring her to be the “new” Dr. Frankenstein's laboratory assistant. It seems the eccentric old hunchback misses all of the experiment excitement. Inga would make it hard for the doctor to say no.

The dark forest they travel through in the wagon is conveyed through the use of video projection. The ride features the song, “Roll in the Hay,” and is as suggestively bawdy as it could be. Great fun!

Once through the dark forests and high mountain roads to Castle Frankenstein, Frederick meets Frau Blucher (Charis Leos) — did you just hear a horse whinny, or was it just me?

Blucher tells him she was Victor's lab assistant and lover and the soother of Frankenstein Sr.'s monsters via her violin. Frau Blucher's (there's that whinnying again!) song, “He Vas My Boyfriend” is a hoot.

It's not long before Frederick begins following in his grandfather's footsteps and becomes determined to succeed in Victor's reanimation experiments. And he does. What Frederick does not know, until it's too late, is that Igor accidentally-on-purpose destroyed the “very special brain” of military historian Hans Delbrück, which Frederick requested for his monster. The slightly panicked, illiterate Igor selects another in a jar labeled “Abnormal.”

If you know Shelley's storyline, you sort of know Brooks’s.

The cast in this production are all extremely talented veterans of the stage, film and TV, so how could this production of “Young Frankenstein” be anything but fabulous?

Highlights include the laboratory scene in which the monster is brought to life (it is dazzling): the equipment buzzes and has all manner of lights, an arch-shaped laser emerges from the proscenium arch around the top of the stage, an operating table that rises ... spectacular.

The Monster (Timothy Hughes) and the Hermit (David Girolmo) scene is priceless. It’s one of my favorites, in large part due to Girolmo's deft performance as the blind hermit starved for company.

Where Hughes really shines is in the dance number, “Putting on the Ritz.” The choreography for this number is a mind blower. Hughes in those “Herman Munster” platform shoes turned tap shoes is impressive, to say the least. The ensemble joins Hughes and James and it is incredible, and I mean jaw-droppingly incredible. I could feel myself and the audience holding back from giving them a standing O just for that scene.

“Transylvania Mania” sung by Igor to divert the villagers from looking for the just escaped Monster, is another showstopper. The ensemble cast is in perfect time, tapping the night away. You don't get to see much tap dancing anymore, but when you do, and it's performed as flawlessly as it is in this show, you kind of wish you did. Dazzling. Just dazzling.

I do believe Creighton should be inducted into the “hunchback hall of fame,” if one is ever created. His Igor, the cheeky rogue, is a scene stealer — and a character you'll look forward to seeing on stage.

One fun (and weird) set change bit has Igor downstage right, laying down a blanket and a picnic basket, from which he takes out a Barbie and Ken doll. Igor pretends the dolls are Frederick and Inga ... I'll say no more.

Director and choreographer Marc Robin and the cast; music director Samuel Thorne Bagala, lighting designer Jeffrey S. Kroger, scenic designer Kyle Melton, sound designer Brett Rothstein, projections designer Dan Efros and costumer/wig designer Kurt Alger have created a monster of a masterpiece production of “Young Frankenstein.”

Just ask anyone at the sold out performance on Aug. 7, which culminated in a standing ovation — in fact, we couldn't get out of our seats fast enough!

“Young Frankenstein,” the musical, book was written by Mel Brooks and Thomas Meehan; music and lyrics by Mel Brooks. This is the final show of MSMT's 2015 season.

Keep in mind this is a Mel Brooks show full of adult situations and language; it isn't suitable for the elementary school set.

“Young Frankenstein” runs through Saturday, Aug. 22. Tickets range from $43 to $70. Call the box office at 207-725-8769. For more information, visit www.msmt.org.

“O sweet mystery of life at last I've found you.”