|
Monty Python's Spamalot
Venue:
Her Majesty's Theatre, Melbourne
Reviewer: Simon Parris
Date Reviewed: 30th November, 2007
Monty Python’s Spamalot is a night of pure indulgence, a
laugh-out-loud cocktail of the best of Monty Python with a loving
pastiche of Broadway mixed in for good measure. The result is a show
that, even without a clear narrative focus, is entertaining and
thoroughly enjoyable.
It is a treat for Melbourne to see a fully recreated version of the
2005 Tony-winning Broadway production. Following The Producers, this
is only the second fully staged production of a Best Musical winner
we have seen in the last seven years. Having missed Hairspray and
Avenue Q, hopefully Jersey Boys and Spring Awakening will be seen in
the not too distant future.
And fully recreated it is! Tim Hatley’s lavish, colourful set and
costume designs look fabulous in the medium-sized space of Her
Majesty’s. The initial castle background appears simple until it is
changed again and again with each setting more spectacular than the
last in a flow that never causes the action to pause even for a
second.
 The
aim of the game is laughs, and all design elements add to the gags,
which are already in abundance in Eric Idle’s book and lyrics. Monty
Python fans laugh at characters and scenes as soon as they appear
but there is plenty for the regular music theatre fan, including
allusions to shows such as Phantom of the Opera, Funny Girl,
Company, Fosse and West Side Story. These in-jokes are supplemented
by home town references, with mentions including Neighbours, Kylie
Minogue and Eddie McGuire.
The storyline, for want of a better term, involves King Arthur
leading a team of knights in a quest to find the Holy Grail. This is
really more of a framework on which to place a series of scenarios,
sight gags and eye-popping production numbers. The Knights of the
Round Table encounter the voice of God, some merciless French
Taunters, the nonsensical Nights who say Ni, and a particularly
vicious killer rabbit. Elements created for the stage production
include the glamorous Lady of the Lake, a very appropriate mission
for Sir Robin and a surprising revelation about Lancelot’s
sexuality.
The fourth wall is broken on several occasions, including a very
funny spot of audience participation for whoever is sitting in a
certain special seat. The songs are often as funny as the script,
especially ‘The Song That Goes Like This’, which is made all the
more hilarious by the fact that the actual show it is sending up is
playing only a block away. The music is immediately accessible and
does not need to be familiar to be thoroughly enjoyed.
Hearing producers use the line ‘the show is the star’ is by no means
new, having been around at least since Cats and Les Miz in the mid
1980’s. This is the way Spamalot has been presented here but it is
difficult not to feel that we have been poorly done by considering
that the Broadway production starred Tim Curry, David Hyde Pierce,
Hank Azaria, Christopher Sieber, Christian Borle (OK those last two
are just Broadway stars) and eventual Tony winner Sara Ramirez (who
now plays Callie on Grey’s Anatomy).
 Bille
Brown brings the requisite gravitas to the role of King Arthur,
playing him in the bewildered way reminiscent of the way performers
used to react to the madness of appearing on The Muppet Show. Cast
for his acting not his singing, Brown is supported by a troupe also
chosen more on acting and, to some extent, look. Although it is
natural to see reproductions of the costumes in a production like
this, it is somewhat disconcerting to see male performers in exactly
the same hairstyles/wigs and makeup as their Broadway counterparts.
Stephen Hall, Jason Langley, Ben Lewis and David Whitney have a ball
playing a variety of distinct characters. Mark Conaghan is a hoot as
the Historian, Not Dead Fred and the fey Prince Herbert. Derek
Metzger brings polish and great timing to long suffering Patsy.
Lucinda Shaw is somewhat of a disappointment as the Lady of the
Lake. This sensational role calls for a true diva with huge stage
presence who has a real gift for belting, cooing and trilling and
who can channel Liza, Judy, and even Cleo Laine when required.
Lucinda is an attractive girl with a good voice. She may grow into
role but at this stage she is miscast and is a weak link in the
production.
Music theatre fans of Australia should rejoice that Spamalot has
landed on our shores. It is a must see for musical lovers and it
should grow into a general crowd-pleasing hit when word spreads.
Simon has appeared in more than 30 productions over the past twenty
years. Recent roles include Eugene Fodor in Crazy for You (Whitehorse)
and Mr Fox in Mack and Mabel (CLOC). Other favourite roles include
Max in The Sound of Music, Freddy in My Fair Lady, Julio in Paint
Your Wagon, Marcellus in The Music Man and Grantaire in Les
Miserables. In 2005, Simon was nominated for a Guild Award in the
category Best Cameo Performance for his role as the Judge in Hello,
Dolly! (Whitehorse).
He is also a keen audience member, having seen over 50 shows in five
weeks on a recent trip to
New York
and
London.
Simon is currently in rehearsals for Catchment’s The Wizard of Oz,
in which he is playing Uncle Henry/Guard of the Gate. Simon has
served on the Music Theatre Guild of
Victoria
Committee for three years, and is currently Treasurer.
|