[NEohioPAL] "Spamalot" Review

[Bob Abelman]

Silliness takes to the Palace Theater stage

 

Bob Abelman

News-Herald, Chagrin Valley Times, Solon Times, Geauga Times Courier

Member, International Association of Theatre Critics 

 

This review appeared in the News-Herald 4/02/09

 

Rarely does a piece of theater tap the 10-year-old in all of us-that semi-dormant personality that enjoys saying inappropriate things during polite conversation, giggles uncontrollably at references to body functions, and takes genuine pleasure in things bawdy, naughty and subversive. 

Even rarer is when that piece of theater wins a Tony Award for Best Musical, its original Broadway cast recording wins a Grammy Award, and the show goes on national tour.  Such is the enigma that is Monty Python's Spamalot, currently on the Palace Theater stage in Playhouse Square.

Lovingly and extensively ripped-off from the 1975 cult film Monty Python and the Holy Grail, the musical tells the legendary tale of King Arthur and the Knights of the Round Table, and their quest for the Holy Grail.  Of course, this tale is delivered through the dribble glass that is the six-member British comedy team of Monty Python, which rose to prominence through its TV sketch-comedy show that ran on the BBC from 1969 to 1974 and, later, on American public television. 

Monty Python's humor is simultaneously intellectual and sophomoric, and is frequently generated by depicting intellectuals acting sophomorically, such as a skit about the proper, bowler-hatted Minister of Silly Walks.  It thrives on offering clever contradictions, such as a skit where illiterate feudal serfs debate the complex socio-political struggles of the Middle Ages or by having its all-male cast playing loud, shrill middle-aged housewives.   The TV show also presented surreal animation, running sight gags and plenty of lunacy for its own sake.   

So too does Spamalot, whose book is written by Monty Python's Eric Idle and whose music is written by Idle and John Du Prez.  Clever contradictions include depicting King Arthur, played with perfect comic timing by famed film and TV actor Richard Chamberlain, as a regal yet clueless moron.   Another is having a plague-ridden character named Not Dead Fred, played by Christopher Sutton, engaging in a hilarious song-and-dance number in which he attempts to convince the collector of dead bodies that he is still alive and kicking.   Sutton, who also plays the show's narrator, a flamingly gay Prince Herbert and several other characters, is brilliant.

Moments both intelligent and sophomoric include a ballad sung by romantic leads Sir Galahad, a role taken on for opening night by understudy David Havasi, and Lady of the Lake, played by the gifted Merle Dandridge.  The song, called "The Song That Goes Like This," offers a self-effacing critique of the inane songs typically sung in Broadway shows by romantic leads.

And there is no shortage of lunacy for its own sake, including a scene involving a killer bunny, a traditional Finnish fish-slapping musical number, and a French guard who taunts the King and his knights with wonderfully crude insults and then catapults a cow at them from over the castle walls.  

Yup, Spamalot is one silly, silly show that, under the direction of Mike Nichols and musical direction of Ben Whiteley, does not take itself seriously or slow down for one second.  It is also a very well done show with huge production values worthy of a Broadway tour.  Elaborate and beautifully constructed set pieces depict medieval castles.  The enormous feet of God, an animated sight gag from the TV show but a 1700 lbs prop on stage, drop down from the ceiling.  Magnificent costuming, curtains, special effects and animation are used throughout the production.  

In addition to the cast members already mentioned, the entire ensemble of featured performers, singers and dancers are phenomenally skilled, energetic and hard-working.   Casey Nicholaw's choreography, which ranges from modern dance to tap to Vegas showgirl strutting, is flashy and spectacular.

Those out of touch with their inner 10-year old will find Spamalot to be a tiresome, unfunny, painful encounter.  For those willing to let the little rascal run wild for the evening, let the giggling begin.

Monty Python's Spamalot runs through April 5 at Playhouse Square's Palace Theatre in Cleveland.  Tickets, which range from $32.50 to $82.50, can be purchased by calling 216-241-6000 or visiting www.playhousesquare.org.
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