Spamalot

It’s a cliche and a misnomer to say “You don’t have to be a Monty Python fan to love Spamalot.”

Actually you do.

If you don’t know Python in all their wondrous absurdity, you’d be hard pressed to make sense of this send up of musical theatre, full of old over-worked gags, farting jokes, scenes with no apparent meaning, and only one memorable song - and that taken from an unconnected Python film (but everybody loves “Always look on the Bright Side of Life”).

However, the wonderful Spotlight company and indefatigable director Clay English haven’t mounted this production, yet another impressive feather in their caps, for the nonbelievers of Python humour. Clay and his team LOVE Monty Python and it shows. This by far the best of the six productions of this show I have seen, and that includes the Broadway production of 2005 (it will have another Broadway revival later this year). I won’t bother trying to explain the plot - if you’ve seen Monty Python and the Holy Grail you already know it - and if you haven’t, it’s unlikely it will make sense! And that’s the beauty of it; because the boundaries of what a musical SHOULD be, have already been removed by the writer, allowing both freedom and theatrical anarchy.

It takes a special kind of crazy to push an already OTT show through the roof and into the vacant plot next door (which no doubt has a lake, and a lady, and a sword - or at least a Swiss pocket knife). Fortunately, Clay English has as many crazies as the sequins on his glittering straitjacket! He’s a fearless director whose mantra appears to be “too far is never far enough” and a terrific performer in his own right. He sings, he dances, he drips charisma and he has a natural ability with comedy. He also brings an incredible energy to the stage and his tap-dancing Sir Robin makes David Hyde-Perce’s original Broadway character look positively lethargic. And because he is a skilled tap dancer, the show is far heavier on dance routines than normal. And who doesn’t love an ensemble tap routine? They’re almost as great as a fish slapping dance!

But it isn’t all English by a long shot. He has a team around him that he likes to work with and who are all exemplary and I must applaud all of them, but most notably Laura English, who as co-choreographer and costume designer plays a large part in the success of the production, and Shari Willner, who once again shows her immense value as musical director. Kudos to her and the band who were excellent, and the vocal arrangements were stunning.

Samantha Sherrin shows once again why she is in such high demand. Her stage presence is never in doubt, she sends her “Diva” presence up mercilessly and she expands her dynamic vocal range to include a full soprano register we may not have expected. It’s a bravura performance. Andrew King, a hit in Gypsy, is delightful as Not Dead Yet Fred. This young performer has good dancing and singing skills, an endearing presence, and a great sense of comic timing, which makes him an asset in any production.

And comic timing is the first requisite to making this deceptively difficult show work. English has cast wisely. Tristan Vanyai almost steals the show as Patsy, King Arthur’s horse (complete with coconut galloping) and confidante. He finds every nuance, every double entendre, and capitalises on every bit of business. It’s a beautifully judged performance and the perfect foil to the impressive Chris Catherwood as King Arthur. A commanding and regal presence on stage, Catherwood plays Arthur mostly straight, if slightly bewildered, and allows others around him to carry most of the laughs. That’s the sign of an experienced performer comfortable with his own talent. His duet with Vanyai, “I’m all alone”, is one of the highlights of the show.

Though many of the cast played multiple characters, there was exceptional work from Andrew McFarlane as Lancelot (and others); Perrin Gilbert as Dennis/Galahad, whose stage presence is palpable – his duet “The song that goes like this” with The Lady of the Lake (Sherrin) was a masterclass in comic restraint; Beau Frigault as Prince Herbert, who managed to make all the campery credible and sympathetic, and additionally has a great voice which is always an asset; Rowan Welch as Sir Bedevere and Jonny Haselam as the Narrator, an historian trying to make sense of the legend. The ensemble, including some beautiful female dancers, were all excellent and added extra credibility to this totally professional performance.

All of which goes to prove that if you have a true affinity with the material, there are no limits to what you can achieve on stage. You won’t see a finer production of Spamalot this side of Broadway, or probably the other side either. I’d bet my grail on it!

Coral Drouyn

Footnote. Personal tragedy of almost Pythonesque proportions prevented me from completing this review a week ago. For that I apologise deeply to the cast and crew and all the lovely volunteers at Spotlight.