Monty Python’s Spamalot

Two Stage Whispers reviewers, Peter Kemp and Graham Ford, attended the Victorian Amateur Premiere of Monty Python’s Spamalot

CPAC presented the Victorian Amateur Premiere of Monty Python’s Spamalot, complete with Black Knight, Holy Hand Grenade and killer rabbit. The fun musical, described as lovingly ripped off from the motion picture Monty Python and the Holy Grail, was a well-costumed and smooth flowing production.
Michael Banks gave an outstanding performance as King Arthur, working well with Richard Green who played his manservant Patsy. Poor Patsy, he had to carry all the King’s possessions throughout the play, simultaneously clapping two halves of a coconut to simulate horses' hooves during the travelling time. Green carried out the character with finesse and projected well.
Sarah-Louise Younger gave a wonderful portrayal of love interest, the Lady of the Lake. She displayed a strong good voice, particularly in the unforgettable Diva’s Lament, as the Lady bewails what happened to her role. Excellently performed in front of the curtain.
Dan Ballis impressed in the multiple roles of Sir Lancelot, the Knight from Ni and Tim the Enchanter.
Mason Gasowski gave a good interpretation of Sir Robin, the cowardly knight who only wanted to sing and dance.
An entertaining evening, enhanced by the standard of chorus and dancers, making CPAC a musical company well worth adding to your calendar.
Peter Kemp

Having enjoyed the professional production of Spamalot, I expected to do the same at the first amateur production in Melbourne. I was not disappointed.
I had never attended a CPAC production before and found myself in Pakenham, in a comfortable theatre of approx 350 capacity, with a surprisingly small stage. The orchestra pit appeared to be surrounded by removable barriers, and this was a problem as the orchestra was a bit loud on occasions.
The advantage amateur productions have over the pros is the proximity of the audience and we saw every nuance. Michael Banks and Sarah-Louise Younger easily matched their professional colleagues as the two leads. Michael was a small, regal King Arthur with a pleasant singing voice and terrific comic timing.
Sarah-Louise had a tour de force in her Diva’s Lament and dominated the stage whenever she appeared. I wasn’t surprised to see she’d been working professionally.
A surprise was Richard Green as the King’s henchman, Patsy. Inconspicuous for much of the first act, he took his moments to shine, singing in a clear strong voice and displaying a nimble set of feet. Daniels O’Kane and Bellis as Sir Galahad and Sir Lancelot were equally strong as singers and dancers. There were no weak performers here.
The sets were not elaborate, but effective, and the direction worked well with the comic timing a constant delight and I only noticed one occasion when a straight face slipped. The dancing was strong. The only disappointment was the usual bugbear of amateur productions, the sound. There were balance problems with the orchestra and words were lost, while a mike gave up on one occasion.
But nothing could detract from what was a thoroughly entertaining night with the Monty Python crowd.
Graham Ford