SPAMALOT reviewed by Priscilla Clare

By Priscilla Clare

Absurdist anarchic humour is alive and well!

Revisit the film ‘Monty Python and the Holy Grail’ as adapted in the musical Spamalot!

Eric Idle, original member of the Monty Python group, wrote the music and lyrics which he ‘lovingly ripped off’ from their popular film. He said the name came from a line: “we eat ham, and jam, and spam a lot”. Spamalot rhymes appropriately with Camelot as the story rambles surreally round King Arthur, his newly recruited Knights of the Round Table and their search for the Holy Grail.

If you are familiar with the film you will recognise all the characters in this musical as Malanda Theatre Company’s able actors bring them new life. King Arthur is given a staunch and stolid, but charismatic, presence throughout by Jake Skukan. Bloodthirsty Sir Lancelot is played with panache by Damien Cavanagh. Brave/not-so-brave Sir Robin shows Howard Smith’s great adaptability and, indeed, physical flexibility! Patsy, King Arthur’s constant page, is comically contrasted with the king by Marg Proctor and also has the honour of singing the well-known song “Always Look on the Bright Side of Life” from Python’s ‘Life of Brian’. Acting and singing seem to come so easily to this large cast and the chorus of all ages supports them splendidly notwithstanding sudden changes of mood from Fisch Schlapping in Finland to Plague Village. The live band is charmingly incorporated into the production, dressed in costume, and sometimes interacting with characters. Glamorous Lady of the Lake, Danielle Riding, sings quite magnificently as she soars strongly to the higher notes.

Spamalot is irreverent. God appears speaking to King Arthur from heavenly clouds. The reality of this small stage is cleverly overcome by ingenious uses of technology and props. Directors Gill Harrington, Ro Mountney and Karen Mahoney have artfully spread the action through the stage’s three floor levels, up to the castles’ turrets and beyond.

The enormous amount of work that is involved in such a production is immediately evident by the smooth execution of the performance. During any performance a few individuals are visible at their posts with lighting, sound and scene changes, but many more are backstage working with costumes and make-up for royalty and peasants, flapper dancing girls and mediaeval minstrels. The joy that goes into the vast preparation shines through to the audience from the bright opening number to the surprising finale.

Some of Spamalot’s songs, dances and dialogue are deliberately reminiscent of Les Miserables, Andrew Lloyd Webber productions, Fiddler on the Roof and other musicals. Broadway fans could test themselves by spotting the many theatrical clichés!

I was never a big Monty Python fan but Spamalot made me laugh out loud. My own sense of humour was tickled most by the political ramblings of Dennis/Sir Galahad.

I do urge you not to miss this high-energy, witty and enjoyable evening.

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