In these somewhat troubled times, let’s face it, we need a good laugh every now and then. “Monty Python’s Spamalot” (‘lovingly ripped off from the motion picture “Monty Python And the Holy Grail”‘) is just the medicine to cure all – it’s zany, crazy, delivers a laugh at least every thirty seconds, and is just plain good old fashioned fun. The Met’s latest production of it is all that and more. I have been hearing talk that it is the best thing they have produced in a while – and the verdict is in : IT IS!!
The plot line could be etched onto a pin head, it’s that inconsequential: King Arthur (“I didn’t vote for you”) is given a quest from God to find the greatest, bravest knights in the land and together find the Holy Grail (“God wants us to look for a cup?!?!”). Oh, and they might find a musical along the way. Are you getting the idea that it’s all for one and definitely all for fun.
This reviewer knows first hand that this is not an easy musical to stage by any means, having directed Marie Clark’s version 7 years ago. But under the experienced hands of Director Barry Hill OAM this latest production just zings and sings along. Hill knows musicals and comedy like the back of his hand and has produced humour and style from his well picked cast and Production team. His philosophy seems to be of the ‘let’s wring every bit of comedy out of this’ school of thought and he ensures that his cast does just that in spades. Selena Britz’s choreography matches the tone of the show with great, fun dance numbers (small and large) that every one of the cast handles well. Musical Director Tammy Papps has assembled a fine orchestra of some of the best musicians ‘in the land’, who obviously enjoy the music they are playing and have fun with it. Papps has also garnered fine, strong voices form all of the cast..
Kudos must be paid to Costume Coordinator Carmel Vistoli. The costumes for this show are many and varied and Vistoli and her team of dressmakers have done an exemplary job – especially when it comes to dressing the Lady Of The Lake. Any brides-to-be that see this production will be fighting over the wedding dress at the end.
The cast of thousands all deserve to be mentioned so I will try my best to do just that. Here goes.
The Ensemble (Daniel Scott, Alistair Veitch, Kuan, Thomas Hall, Caelan Farr, Barbara Nutchey, Tegan Gully-Crispe, Jasmin Paukkunen, Isabella Walters, Sash Elliott, Dani Panfilo and Hannah Poel) are bright and energetic in everything they do. It is so nice, in particular, to see every male dancer smiling as much as the females. Watch out for Gully-Crispe and her ‘Killer Rabbit’.
Daniel Whitehead is a wonderfully, lively Not Dead Fred; Mark Gamtcheff voices the Historian well; Ian Buxton gives Prince Herbert’s father some nice pacing of his dialogue; Louis Cann looks and sounds good as the Minstrel and Ewerton Silva has certainly conquered the habit of being a Dancing Nun (yes, it’s that sort of show lol).
Brad Martin is hilarious in his roles of Tim the Enchanter and the Knight of Ni, but it is in his roles of the French Taunter and Sir Lancelot that he really shines (literally in the case of Lancelot), and his Frenchman is so good that he has probably just sent French/English relations back even further.
Sam Davey (Sir Robin/Brother Maynard/Guard 1) and Steve Lewis (Sir Bedevere/Dennis Galahad’s Mother/Concorde) make a delicious meal of all their roles. Shane Huang almost steals the show as wimpy Prince Herbert with great comic timing and his extremely powerful vocals. This reviewer always knew he could sing but in this role his voice just soars.
Simon Barnett plays the Black Knight as butch and macho as it should be but with his flowing locks, machismo stance and strong vocals – his duet, “The Song That Goes Like This” with The Lady Of The Lake (Kristin Stefanoff) is more than worthy of a ticket to see these two powerhouses perform – he knocks the role of Dennis/Sir Galahad out of the swamp.
As King Arthur’s faithful servant and “horse” Patsy, Ben Todd uses facial expressions and body language to great purpose. This is particularly noticeable in King Arthur’s “I’m All Alone”. Todd’s is a very endearing and engaging performance and he really shows us what he’s got in “Always Look On The Bright Side Of Life”.
The role of King Arthur is hard enough to portray in that it is virtually the ‘straight man’ role befuddled by all the nonsense going on around him. But when an actor needs to step into that role with just over two weeks of rehearsals under their belt, it becomes a bit of a nightmare for said actor. Angus Smith has taken on that daunting task and positively shines. You would swear he has been in the role since day one of rehearsals. He IS King Arthur! Smith exudes the confidence of a King and packs a punch with his vocals. A great performance.
Although this is a fairly ensemble piece of work, the “star” of the show has to be The Lady Of the Lake, although she “hardly appears in Act Two”. In this role Kristin Stefanoff is stunningly superb! Her stylish manner and moves are so indicative of a ‘Diva’. And what vocals Stefanoff pocesses! This role requires her to sing in many styles, and she just blasts them all to pieces with her phenomenal voice. As mentioned previously, her duet with Barnett is simply the best. Stefanoff is also very adept when it comes to comedy. A Bravura performance!
If you love musicals (or even if you don’t), love Monty Python (or not), and just want a brilliantly funny, entertaining night out, “Monty Python’s Spamalot” is for you – just remember that “What happens in Camelot, stays in Camelot”.
