Spamalot

Could there be anyone who has not seen Monty Python and the Holy Grail? Possibly, but even if they haven’t, they will still enjoy Spamalot (my guest did)

The story is simple. King Arthur travels England to find knights to join him in his quest for the Holy Grail. His quest is hindered by many trials and tribulations.

Brian Godfrey must have Monty Python and the Holy Grail burnt into his mind because it is all there and much more - dancing girls, monks and wild lighting effects. His hand in guiding this show is evident. The sense of humour and silliness is constant and has the audience laughing from start to finish.

The lighting and effects for this style of show are crucial and I was amazed to hear that at the last-minute Taylor Scheid, the Assistant Stage Manager, called the show for the first time on the opening night. While there were a few late cues in the beginning, the rest of the show was smooth. She is to be commended for this and the slight mistakes should be corrected by the second night.

There are so many exceptional performances, but I will start with King Arthur himself. Michael Butler is every inch the King, pompous, self-focussed and with a rich velvety voice. His song with Patsy is a highlight.

Casmira Hambledon steals the show in her portrayal of The Lady of The Lake. With a gutsy voice and a wide collection of wigs and costumes she embodies the silliness that is Python. Her number ‘Whatever Happened to My Part’ is hysterical.

Buddy Dawson continues his run of comic roles with another success in a blonde wig that refuses to behave. Sir Robin is … well, he’s not intelligent, he’s silly (in the nicest possible way). His number ‘You Won’t Succeed on Broadway’ is exhausting to watch and his energy seems boundless.

Sebastian Cooper makes the most of his roles, particularly Sir Galahad. Vain, handsome and self-obsessed he excels in his duet with The Lady of The Lake. Every Python fan waits for the Black Knight scene and Cooper in his other main role does not disappoint considering the limitations of reproducing this effect in live theatre.

As well as playing Sir Lancelot, Jamie Wright recreates the famous “I fart in your general direction” scene. In fact, the whole French scene had the audience in stitches.

Chris Bierton’s rendition of Dennis Galahad’s mother reminded me of the mother in The Life of Brian, coarse, brash and someone who takes no nonsense from anyone let alone her son.

Patsy is a hard role, being mostly pantomime and Ben Todd really nails it. His underplaying opposite King Arthur is the perfect decision and one feels for him when he is totally ignored by his master. His song with King Arthur, ‘Always Look on the Bright Side of Life’, bought the house down.

Damien Quick plays many characters, but none more memorable than the effeminate Prince Herbert who just wants to sing. His slight figure is a big advantage when in drag, but the hairy legs were a hit.

Every musical needs a good chorus, they are the backbone of the show. The Spamalot chorus changes costumes with ease and at the drop of a hat. The choreography by Rachel Dow and Rebekah Stonelaitken plays to their strengths and the overall effect is one of enthusiasm and enjoyment.

Ben Stefanoff’s orchestra provides a solid backing to the singers and is equally impressive in their own right. 

Spamalotis a must for all Python fans. Even if you are not, you will probably be converted by the end of the show!

Barry Hill

Images: Mark Anolak Photography