[NEohioPAL] Review of "Spamalot" at Beck Center for the Arts

[Bob Abelman]

Beck Center finds its holy grail in 'Spamalot'

 

Bob Abelman

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

Member, International Association of Theatre Critics 

 

This review will appear in the News-Herald on 7/19/13

 

 

For those who couldn't score a ticket for the national tour of "Book of Mormon," another chance to take pleasure in things bawdy, naughty and insubordinate is being offered by the Beck Center for the Arts in Lakewood:  "Monty Python's Spamalot."

Rarely does a piece of theater tap that 10 year old in all of us who enjoys saying inappropriate things during polite conversation and giggles at the very thought of base bodily functions.   

Rarer still is when it wins a 2005 Tony Award for Best Musical and its original Broadway cast recording wins a Grammy.  

"Spamalot" is lovingly and extensively ripped off from the 1975 cult film "Monty Python and the Holy Grail" and, to a lesser extent, the 1979 film "The Life of Brian."  The musical - written by Monty Python's Eric Idle with music by Idle and John Du Prez - tells the legendary tale of the quest for the Holy Grail by King Arthur and the Knights of the Round Table.  

Of course, this tale is delivered via the dribble glass that is the British comedy team of Monty Python.  The troupe 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.  In fact, it thrives on the clever contradictions between these extremes, such as in 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. both of which are utilized in this musical. 

The TV show also presented surreal illustrations, running gags that are inane to the point of brilliance, and plenty of lunacy for its own sake.  Ditto for "Spamalot." 

Yup, "Spamalot" is one silly, silly show that does not take itself seriously or slow down for a second.  Fortunately, silly is in the middle of director Scott Spence's artistic wheelhouse.  Along with music director Larry Goodpaster and his wonderful 12-piece orchestra, Spence delivers a "Spamalot" loaded with the straight-faced absurdity it requires and stacked with gifted musical theater performers who buy into what Monty Python is selling.  

The entire 20-member ensemble is phenomenally skilled, energetic and able to showcase Martín Céspedes' finely crafted yet highly comedic choreography.  Ranging from ballet to tap and showgirl to showbiz, every featured dance number and staged interlude is a marvelously concocted treat.

No one better handles the comedy and the choreography than Pat Miller.  He is brilliant as Patsy, whose job as King Arthur's manservant is to simulate with two halves of a coconut the sound of hoof beats for Arthur's nonexistent horse.  Every facial expression and each gesture places a comedic glyph above the dialogue, adding flair to the festivities and enriching the production.  
 
The musical number "Always Look on the Bright Side of Life" is a marvelous amalgamation of Spence's ear for comedy, Céspedes' eye for cinematic movement, well executed ensemble work, and Miller's talents.  
 
King Arthur is played as a regal moron with perfect comic timing by Dougfred Miller and is matched, well-delivered punch-line for well-delivered punch-line, by Brian Altman as Sir Lancelot, Matthew Ryan Thompson as Sir Robin, Eric Thomas Fancher as Sir Galahad, and Mark Heffernan as Sir Bedevere.    

Of the many highlights in this wonderfully irreverent production, most feature Timothy Allen.  As a plague-ridden character named Not Dead Fred, he spearheads a hilarious song-and-dance number in which he attempts to convince the collector of dead bodies that he is alive and kicking.   Allen, as the show's ancient narrator, a flamingly gay Prince Herbert and several other characters, is clearly in his element in this venue.

So, too, is ample-voiced Jessica Cope as Lady of the Lake.  In "The Song That Goes Like This," a self-effacing critique of the inane songs typically sung in Broadway shows by romantic leads, she and Fancher, as Galahad, nail the complex harmonies, sustain the high notes and broad comedic undertones, and own the audience.

This production's only weakness is the budget given Trad A Burns for his scenic design.  More lavish production values would have better off-set the intentionally less grand inclinations in the script, creating yet another clever contradiction.  This is something nicely accomplished by Aimee Kluiber's costume design.  

"Spamalot" will prove to be a tedious affair for those not in touch with their inner child.   For those willing to let the little rascal run wild for the evening, the Beck Center is the place to play.

"Monty Python's Spamalot" runs through August 18 at the Beck Center for the Arts in Lakewood.  Tickets, which range from $10 to $28, can be purchased by calling 216-521-2540 or visiting www.beckcenter.org.
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