Spamalot

Reviewed by Holly Bartges

Monty Python’s Spamalot invaded the Temple Buell Theatre with explosive hysterical laughter with one silly bit after another. For one who takes comedy with a grain of salt until the proof of the pudding provides the right ingredients, the truth is Spamalot turns Silly into an art form of the highest degree. Only playing until October 7, it is a definite Do Not Miss, although tickets may be difficult to come by. Cancellations do happen, and this is certainly one show that is worth continual calling to the box office and standing in line before each production.

Anthony Holds as Sir Galahad and Esther Stilwell as The Lady of the Lake in the National Touring Production of Monty Python’s Spamalot. Photo by Joan Marcus

Explained as a “new musical ‘lovingly’ ripped off from the motion picture Monty Python and the Holy Grail, the writing, the casting, the lighting, the direction, the special effects, the set, the touring orchestra fit together in one gigantic splash of eye-tickling, rib-popping thrilling entertainment.

Considering the original Monty Python creators put the film together in 1977 on a shoestring, having to improvise because their budget balked at hiring horses, the film took off in the United States in a whirlwind. Way back then it seemed everyone who was anyone talked about Monty Python. At least in my world of friends and acquaintances that was the case. And that was in Ohio believe it or not.

It has been astonishing to discover a number of people who have never heard of Monty Python or who chose to ignore the off-beat-radical-nothing-is-sacred-spoof-can-happen-anywhere-anytime comedy group originating in England. Nothing is sacred, not even the beloved and deeply cherished King Arthur fable.

Eric Idle, an original member of Monty Python, wrote the book and lyrics and collaborated with John Du Prez on the music taking it through a major metamorphic adaptation for the stage. It slammed into Broadway on all four hooves, or coconut shells as the case may be, nearly turning the Great White Way upside down. For the 2005 Tony Awards, it earned 14 nominations, winning three.

Christopher Sutton as the Historian, informs the audience about medieval England with a large animated map descending into full view. Immediately, a Scandinavian village appears with the townspeople celebrating in dance with the Fisch Schlapping Song. In a booming voice the Historian calls a halt with “I said England”. Solemn chanting monks appear in front of Mud Castle instantly moving from bright colors to dark, dull, and dreary.

Roaming the land with his servant, Patsy, wonderfully played by Jeff Dumas; King Arthur, played with a kingly stance and gorgeous booming voice Michael Siberry, recruiting Knights for his famed Camelot encounter several strange sights. Dead bodies are gathered into a cart with the assistance of Sir Robin (Robert Petkoff) and Sir Lancelot (Patrick L. Heusinger). As it turns out Sir Robin isn’t as brave as Lancelot, although he once slew the vicious chicken of Bristol.

One of the bodies as Not Dead Fred, also played by Sutton, insists through song and dance “I Am Not Dead Yet.”

Arthur runs into some difficulty when he meets Dennis Galahad (Anthony Holds) who does not believe Arthur has a right to the throne. The political radical believes that unless a man has been elected by the people, he has no right to be king. Arthur insists The Lady of the Lake (Esther Stillwell) gave him Excalibur. Out of the depths in a huge fanfare, the Lady appears. Flamboyant and a trained versatile voice that takes her anywhere she wants to go, Stillwell grabs the attention with her Laker Girls in Las Vegas extravaganza turning Dennis into Sir Galahad with the song Come With Me, while the Laker Girls burst into a cheer taking on shades of Phantom of the Opera with “The Song That Goes Like This.”

Monty Python takes great giggling delight to take pot shots at the big Broadway musicals recreating recognizable scenes from Fiddler on the Roof, West Side Story, Les Miserables, Stephen Sondheim’s Company, and The Producers.

Lines are frequently changed to incorporate comments on national news events, and the Touring Company inserts local situations in the city where they play. The current run gives John Denver a plugged plug.

Deciding he needs help from God, featuring the recorded voice of the brilliant English comedic actor John Cleese, a humongous pair of legs and feet descends into view. Following a short direct conversation, God request that King Arthur stop looking up his skirt. Later when lost in the Most Expensive Forest, Arthur decides he again needs God’s helping hand, a large hand descends. Arthur doesn’t need his help that badly, but the visual effect is a slam-dunk.

Of course, it’s the Holy Grail the Knights and King Arthur are after, while the Lady of the Lake encourages them to find their own Grail.

Broadway comes into their focus, even though Broadway stands 400 years into the future. Sir Robin’s song “You Won’t Succeed on Broadway” nearly stops the show. Petkoff’s Robin garners grand audience appreciation when he announces he too has found his Grail and it’s Broadway musicals.

Of course, love interests prevail. Lost in a part of The Most Expensive Forrest, Arthur laments “I Am All Alone” even though Patsy is with him wondering if he’s chopped liver. Wondrously The Lady of the Lake appears reminding him she has always been there for him and with him with a reprise of the song “The Song That Goes Like This.”

Receiving a letter from what he assumes is a damsel in distress, Sir Lancelot discovers the damsel in distress is actually Prince Herbert also played by Sutton singing from his castle celled room “Where Are You, Here You Are.”

When the Lady of the Lake has had enough, she appears with her own lament how she had a strong part In the beginning of the show and now is left back stage with nothing to do but wait In “The Diva’s Lament.”

So where did the name Spamalot come from? In the movie the knights complain they eat “spam a lot”. It struck a chord with Idle striking a like chord with everyone involved.

The silliness relentlessly continues scene after scene. A very large cow is thrown over a castle wall. The cow itself weighs 45 pounds and takes to stagehands to heave it over.

A large vicious rabbit is encountered, biting the head off one of the Knights.

Spamalot cheers at punching out the lights of everyone and everything in a fast and furious musical two-step begging for new word descriptions because funny and hilarious just aren’t big enough to capture the experience.

Tim Hatley designed the set and costumes in great detail. Acme Sound Partners designed the incredible Sound. Gregory Meech must have had a riotous time designing the special effects. Hugh Vanstone matched the ever-changing mood with a lighting design that danced its way through with flashing lights and bright colors. Larry Hochman’s choreography ran the gambit from jazz, modern, classical ballet, to waltzing acrobatics side by side with ingenious two steps.

The unsung heroes of any musical generally belongs to the touring orchestra, this time conducted by Ben Whitely, who rattled the walls with the precise exciting musical score. There are moments; the orchestra may ignite a strange sound never before heard. That’s because the orchestra uses a Spama-horn specifically designed for Spamalot. Of course, they would. Monty Python leaves no stone untouched. When looking for the Holy Grail it could be just about anywhere, even in the orchestra pit.

This is definitely not a show to miss and if we’re very very good, perhaps Denver Attractions will wield their own Excalibur to bring it back in a couple of years.