Monty Python's Spamalot - 9 out of 10
The Metropolitan Musical Theatre Company of SA Inc
TICKETS: https://themet.sales.ticketsearch.com/
On the 17th of March 2005, Monty Python’s Spamalot
officially opened on Broadway at the Shubert Theatre, going on to be critically
acclaimed by critics and audiences alike and winning three Tony Awards. With
the Book and Lyrics by Eric Idle, and Music by Eric Idle and John De Prez, it
has proven to be an ongoing favourite amongst many companies since that time,
with a most recent amateur mainstage production in Adelaide by Marie Clark
Musical Theatre in 2018.
This latest production is directed by Barry Hill OAM, highly
respected and many times awarded veteran of the Adeliade theatre scene, and it
shows. As he noted in a pre-show social media post, “I am indeed fortunate to
have such a talented cast with a wealth of experience to join me in my
journey…” For this reviewer, this statement so accurately underpinned a show
that deserves to be seen by local audiences, whether they are Month Python fans
or not…a genuine hit. I have not heard an audience laugh (and sing) along as
much for some time.
There is no doubt this Director has selected an experienced
cast who bring wonderful stage presence to the material, but who were also able
to combine that with the onstage flexibility in both timing and poise required
to share this crazy absurdity of a show with the audience. Selecting actors
with these talents show the Director’s skill in managing a competitive audition
process, but then unequivocally following through in enhancing those abilities
during the production period. The cast were having a mountain of fun, surely so
important if you want the audience to have fun too!
As ‘King Arthur’, Angus Smith deftly presents a character
desperately trying to be serious, imperious even, while all the time creating
such a lovely parody of what he seeks to achieve. His performance of ‘I’m
All Alone’ was an understated but perfectly delivered example of that
parody, presenting a wonderful signature Python moment encompassing certain
uncertainty!
His sidekick, ‘Patsy” of that now famous rhythmic coconut
shell accompaniment, played by Ben Todd, brings the yang to ‘Arthur’s’ ying
making the pair inseparable in their character performances, acting together
with such closeness.
Kristin Stefanoff as ‘The Lady of the Lake’, is asked to do
many things vocally, and in her acting, which she achieves with aplomb. In the
first instance, it is no easy job to sing in a single production, a varying
number of songs in different voice styles. Box ticked, but to add the comic
emphasis in each of those styles was above and beyond normal expectations and a
terrific example, again, of Python’s parody. Her comic timing and voice stood
out, and ‘Whatever Happened To My Part’ paid homage to the very
well-crafted ironic lyric of this song.
One might be tempted to refer to the “Knights Of The Round
Table’ as secondary principals, but once you see what these actors can do, the
temptation would not last long. In their main roles, each sang very well and
contributed so much to the cast balance. But in addition, each performs several
non-knightly roles in addition to their main character, and frankly it was
difficult to follow who was doing what! Changes of accent, costuming and so on,
contributed of course but above all, their ability to deliver different
characterisations made it feel like the cast was much bigger than it was. We
have all seen theatre where an actor is asked to ‘fill in’ for an ensemble
number and often this can be noticed by an audience member. Not so here. The
‘Knights’ one and all, carried this out with no drop in standard at all.
Speaking of balance, mention should be made of the talented
ensemble, with the Director bringing out some lovely comic moments along with
their confident delivery of the major production numbers. Musical Director
Tammy Papps will be very proud of both her Orchestra and Vocal Production and
rightly so. When an Overture is so beautifully parodied (a hint - listen for
the ‘inclusions’ of non-traditional overture content), it was such an important
moment in informing the audience of what they were about to experience.
Equally proud should be choreographer Selena Britz. How do
you parody big production numbers? After all, as an audience for a big Broadway
mainstage musical, we expect these to be done with precision and skill. Yet, in
this show, parody wasn’t achieved by lowering an expected standard (i.e. doing
things less well to get a laugh). Rather, it was delivered with the clever use
of formation, skilled dance and positioning discipline and a wide selection of
audience pleasing props and costuming. The choreography achieved parody like a
thief in the night, the audience appreciating the “Broadway” expectations while
laughing at the parody involved... clever!
Finally, the theatre nerd in me thinks it is worth
mentioning the theatre technique of ‘breaking the fourth wall’, used in this
production. A Dr Google interpretation of this technique describes it as “a
dramatic technique where characters acknowledge they are in a fictional story,
violating the invisible barrier between themselves and the audience. This
meta-technique involves characters speaking directly to viewers, acknowledging
the camera, or commenting on their own artificiality, often for humour, intimacy…
(enough of the Dr!) It is generally a relative rare creative technique, and yet
so highly symbolic of the Monty Python style of comedy it is no surprise to see
it used in Spamalot and so well.
It is said that American GI’s during World War 2 referred to
Spam as ‘ham that failed its physical”. Don’t be fooled by the title of this
show, it passes it’s physical with flying colours and you should taste its full
flavours!
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