Monty Python's Spamalot
Book and Lyrics By Eric Idle
Music By John Du Prez and Eric Idle
Directed By Alex S. Freeman
Produced By Firehouse Theatre
My first experience with Monty Python wasn't until I was in college when I say The Holy Grail. I had never even heard of it before, if you can believe it. My husband and guest to this production of Monty Python's Spamalot grew up watching Flying Circus and listening to Monty Python sketches on cassette tapes, that they enjoyed listening to on road trips as a family. So, when I saw this production was in town, I had to take him to see it--especially for Valentine's Day! It is after-all, a love story. Well, sort of.
If you're like me and are only slightly familiar with Monty Python or Spamalot, a quick rundown of the ridiculous plot will help sort things out. King Arthur, played suavely by Grant Hollowell seeks to build his army by enlisting knights for his "very, very, very round table." He is met with doubters and deceivers along the way, who question his legitimacy as King, until the enchanting The Lady of the Lake, played by the glorious and glamorous Sara Williams shows up and sets them straight, as she was the one who ordained Arthur as "King of the Britains." Williams steals the show with her "Song[s] that go like this," and her enchanting beauty. Not only is Williams easy on the eyes, she is a card-carrying comedian in her own right, with timing that is impeccable and satire that is surely embedded in her very nature!
While each principle role in the cast has his/her own quirks, they make a marvelously humorous lineup of clowns who exchange the most ridiculous banter. Aside from the above mentioned characters, we also have Patsy (played by Charles Barry,) who represents a Tweedle-Dee/Tweedle-Dum personality, but, nevertheless, he is Arthur's friend and trusty "steed" with the appropriate coconuts to assist in his trotting sounds. Our Historian and narrator, Nicholas Haas steps into many different costumes to play varying parts, which are all hysterical and brilliantly clever. God (played by Eric Idle) makes an appearance, showing up in the form of a bright spotlight, giving Arthur the new mission of finding the holy grail. Finally, the ever-famous Knights of the Round Table include the scaredy-cat Sir Robin (played by John Wenzel,) the too-big-for-his-breeches Sir Galahad (played by Adam Seirafi,) the sometimes- wise Sir Bedevere (played by Jason Philip Solis,) and the sexually-charged Sir Lancelot (played by Preston Isham.) But, don't be fooled! Just because they play a principle role doesn't excuse them from stepping in to play the necessary fill-in roles when the opportunity presents itself. Isham himself is charged with portraying many stereo-typical foreigners throughout the play, with their corresponding over-the-top dialects, including a Scotsman and a Frenchman. Solis is adorned in a skirt and apron as an over-protective mother of Daniel (or is it Darren?... Dennis, maybe? Oh, who cares?!) These are just two examples, and you will find more side-splitting switch-a-roos of your own!
Bring in the Ensemble! This lively group delivers much excitement through song, dance and silliness in ever-changing costumes (designed by Dayna Dutton) that are sensationally frilly, flashy and fun. When not twirling, tap dancing or throwing high kicks (choreographed by Kelsey Jordan Ward,) you'll find them in the background adding pops of color and pizazz to the scene at hand. These sensational players are Emily Dye, Kynzi Gumm (also the dance instructor,) Lucas Haupert, Alexandru Istrate, Lisette Sandoval Perez, Daniel Vanegas, Ally Varitek and Herbert Welch.
These never-ending, head-spinning transitions are managed by head stage manager, Hannah Tolle, and assistant stage manager, Ally Varitek, who regulate scene changes in impeccable timing! Set (by Patrick Ulrich,) Sound (by Dylan Hearn,)Lights (by Gabe Coleman) and Props (by Sam Bell) set the stage for a bright and peppy adventure in Camelot.
Monty Python's Spamalot is an escapade of nonsense, whose absurdity will leave you in an uproar of laughter and mirth! Firehouse Theatre delivers an evening of rollicking good fun that teaches us to laugh at ourselves and our own foolishness! Reserve your seat today! Tickets can be located at thefirehousetheatre.com
Audience Rating: PG-13 for mature content
Accessible Seating: Available
Hearing Devices: Not Available
Sensory Friendly Showing: Not available
Noises and Visuals to Know About: Knights who say 'Nee!' might be triggering to those sensitive to sound.
Production Sound Level: Comfortable volume
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