NODA Review - Martin Craig
Spamalot is a large scale musical based on the 1975 film, Monty Python and the Holy Grail, which itself is a (very) loose retelling of part of the Arthurian legend told in a way only Monty Python can.
With silliness galore, huge musical numbers, ridiculous plot and characters, this should be an absolute gift for any theatre company, amateur or otherwise.
Graham Hawley played an introspective, Shakespearean-like King Arthur with his loyal, optimistic servant companion, Patsy (Mark Stilwell), coming into his own in ”Always look on the bright side of life”, and keeping in character throughout.
On his quest for the Holy Grail, King Arthur meets, and recruits his Knights
Tony McGee, who began as Dennis a mud collecting political radical, transformed into Sir Galahad after meeting the Lady of the Lake (played well by Philippa Hawley) and being knighted by the King.
The other Knights, picked up along the way, were Sir Lancelot (Jack Pike), Sir Robin (Andrew McMinn) and Sir Bedevere (Daniel O`Hagan), all three giving solid performances, obviously enjoying themselves in their songs and dances.
Andrew`s diction was excellent throughout, and whilst his over-enunciation slowed down the “coconuts/swallow” scene, it did help the audience understand everything he was singing about in his Broadway number. Jack`s Sir Lancelot was played confidently, and at one point, after losing his tabbard, was almost conducting the orchestra with his hip thrusts. Taking us through the story was The Historian, played assuredly by Liz Turnbull, who also played Dennis`s mother, normally played by a man.
As with all large scale shows, there were way too many characters to mention here, and as you would expect with Python, each person played more than one role. Other notable performances from the cast were Thomas Donnan as Herbert, and Andy White as the Minstrel/Not Dead Fred.
Spamalot is such a fun show to be part of, and every company relishes the opportunity to perform it- you could tell that the Workington Amateur Operatic Society had really enjoyed working on this one, such was their enthusiasm and their support for the main characters.
Staging was on two levels, with a mandraulically operated drawbridge between, lifted when necessary for scene changes and exits, There were no cloths, Workington opting for the LED Screen (which the cast had to duck under for entrances and exits), with LED screen turrets on thrusts either side of the stage. The LED backdrop worked well for the Camelot and God scenes, but the LED turrets struck me as being too linear, superfluous and in some scenes distracting. The setting of some of the scenes and positional masking of and by performers made some of the scenes difficult for the audience to see. I think that this is definitely one of those shows that needs a “Director`s eye” out front, as so many of the niggly little things could have been sorted, before the run.
There are many challenges to tackling a production such as this.
1) Trying to sell a Python show with Python humour to Musical Theatre fans
2) Trying to sell Musical Theatre to Python fans
And
5) the fact that the audience know the source material incredibly well and have an affinity with the characters, the character`s lines, and most of all how the lines should be delivered.
With these in mind, the level of expectation is high- the script itself is so well written and will always get the laughs at the right points without any additions, but people will still expect men to be playing women, Knights to lose all of their limbs etc, however ridiculous the concept Choreography by Natasha McKenzie was good, keeping the chorus and principals on their toes, so to speak .
Musical Director, Stephen Hunter Brown had worked hard with the Principals and chorus, and the orchestra sounded good under his baton.
Artistic Director and Producer Tony McGee, should be proud of what the society have achieved with this production.
Thank you, Workington Amateurs, for your invite and your hospitality.
Martin Craig (District 11)
With silliness galore, huge musical numbers, ridiculous plot and characters, this should be an absolute gift for any theatre company, amateur or otherwise.
Graham Hawley played an introspective, Shakespearean-like King Arthur with his loyal, optimistic servant companion, Patsy (Mark Stilwell), coming into his own in ”Always look on the bright side of life”, and keeping in character throughout.
On his quest for the Holy Grail, King Arthur meets, and recruits his Knights
Tony McGee, who began as Dennis a mud collecting political radical, transformed into Sir Galahad after meeting the Lady of the Lake (played well by Philippa Hawley) and being knighted by the King.
The other Knights, picked up along the way, were Sir Lancelot (Jack Pike), Sir Robin (Andrew McMinn) and Sir Bedevere (Daniel O`Hagan), all three giving solid performances, obviously enjoying themselves in their songs and dances.
Andrew`s diction was excellent throughout, and whilst his over-enunciation slowed down the “coconuts/swallow” scene, it did help the audience understand everything he was singing about in his Broadway number. Jack`s Sir Lancelot was played confidently, and at one point, after losing his tabbard, was almost conducting the orchestra with his hip thrusts. Taking us through the story was The Historian, played assuredly by Liz Turnbull, who also played Dennis`s mother, normally played by a man.
As with all large scale shows, there were way too many characters to mention here, and as you would expect with Python, each person played more than one role. Other notable performances from the cast were Thomas Donnan as Herbert, and Andy White as the Minstrel/Not Dead Fred.
Spamalot is such a fun show to be part of, and every company relishes the opportunity to perform it- you could tell that the Workington Amateur Operatic Society had really enjoyed working on this one, such was their enthusiasm and their support for the main characters.
Staging was on two levels, with a mandraulically operated drawbridge between, lifted when necessary for scene changes and exits, There were no cloths, Workington opting for the LED Screen (which the cast had to duck under for entrances and exits), with LED screen turrets on thrusts either side of the stage. The LED backdrop worked well for the Camelot and God scenes, but the LED turrets struck me as being too linear, superfluous and in some scenes distracting. The setting of some of the scenes and positional masking of and by performers made some of the scenes difficult for the audience to see. I think that this is definitely one of those shows that needs a “Director`s eye” out front, as so many of the niggly little things could have been sorted, before the run.
There are many challenges to tackling a production such as this.
1) Trying to sell a Python show with Python humour to Musical Theatre fans
2) Trying to sell Musical Theatre to Python fans
And
5) the fact that the audience know the source material incredibly well and have an affinity with the characters, the character`s lines, and most of all how the lines should be delivered.
With these in mind, the level of expectation is high- the script itself is so well written and will always get the laughs at the right points without any additions, but people will still expect men to be playing women, Knights to lose all of their limbs etc, however ridiculous the concept Choreography by Natasha McKenzie was good, keeping the chorus and principals on their toes, so to speak .
Musical Director, Stephen Hunter Brown had worked hard with the Principals and chorus, and the orchestra sounded good under his baton.
Artistic Director and Producer Tony McGee, should be proud of what the society have achieved with this production.
Thank you, Workington Amateurs, for your invite and your hospitality.
Martin Craig (District 11)