MONTY PYTHON’S SPAMALOT -Northern Light Theatre Company

MONTY PYTHON’S SPAMALOT -Northern Light Theatre Company

Reviewed by Kym Clayton

March 2010

Spamalot is the most ‘plotless’ musical ever.  It is a lot of fuss about little but it is so much fun.  This reviewer enjoyed Northern Light’s production much more than the professional production in Melbourne that starred iconic Australian actor Billie Brown.  Because Spamalot is so well known it could be considered dangerous to try and copy the original Pythonesque antics, but Director Michael Pole pulled it off almost flawlessly – the Black Knight sketch was however a bit tedious.

Nick Setchell was perfect as the gormless King Arthur who is desperately trying to recruit knights to his Round Table so that he can go in search of the Holy Grail.  Michael Papps played his ‘patsy’ and the equine coconuts to perfection.  Jethro Pidd played not-so-brave Sir Robin with style, Jason Ferguson was terrific as Sir Galahad, and Glenn Vallen was perfectly idiosyncratic as both Sir Bedevere and Mrs Galahad (and looked hilarious in his handle bar moustache and bobbed wig).


As Lady of the Lake, Megan Humphries belted out her songs with enough energy to light the entire northern suburbs for an evening (and her sustained notes were longer than the election telecast).  Acting honours go to Omkar Nagesh, whose prince Herbert was priceless, and to Steve Rudd whose Tim the Enchanter, the French Taunter and the Knight of Ni had the audience in stitches.

Sue Pole’s choreography was effective, but there were issues with unison and lost steps in a number of the ensembles.  But it didn’t matter!  Peter John’s orchestra was excellent, but over amplified, as were a number of the soloists.  Ian Barge’s lighting design was one of the better ones to hit the Shedley, and Ann Humphries costuming was extremely effective.

In all, a great production to kick the year off.

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This production was reviewed by:

Kym Clayton
Kym Clayton
Kym is passionate about the arts and has been involved in community theatre for more than 40 years. He has directed numerous productions across a range of companies and occasionally ‘treads the boards’. He is a regular reviewer for The Barefoot Review, and is a member of The Adelaide Critics Circle. He is a graduate of the Arts Management program at the University of South Australia and enjoys working with a range of not-for-profit arts organizations including Galleon Theatre Group and Recitals Australia.

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