Monty Python’s Spamalot

It was a pleasure to visit Blackburn Musical Theatre Company for their production of Monty Python’s Spamalot, a show that thrives on silliness, sharp timing, and a cast willing to throw themselves wholeheartedly into the madness. From the moment the curtain rose, it was clear that everyone involved was having tremendous fun, and that enjoyment carried straight across to the audience.

Directors Tony Fry and Gary H Worthy delivered a colourful, slick, and confidently handled production that made the most of Spamalot’s glorious absurdity. Their shared love of the material was clear throughout, shaping a show that balanced joyful chaos with real theatrical precision. Every comic beat landed cleanly, every ridiculous moment was supported to its fullest, and the pace never faltered. Together, they created an atmosphere where the humour could flourish without ever losing control of the storytelling, resulting in a bold, consistently funny evening.

Musical Director Nick Sanders provided a vibrant and skilfully shaped musical foundation, drawing excellent ensemble harmonies from the company. The score’s patchwork of styles, from medieval chant to Broadway pastiche, was navigated with complete ease, with crisp transitions, well‑landed musical jokes and big numbers that carried real punch. The orchestra supported the cast with colour and confidence while never overwhelming the comedy, giving the whole production that unmistakable Spamalot sparkle.

Choreography by Katie Fry was a constant source of delight, embracing the show’s ridiculousness with invention and style. From the gloriously silly Finnish dance, complete with enthusiastic fish‑slapping, to the tap routine with umbrellas, her work was sharply synchronised and full of character. The ensemble looked as though they were enjoying every second, and the recurring appearances of the Laker Girls, each routine different, complete with full costume changes, lifted the stage every time. Katie balanced comedy and technique with assurance, ensuring both leads and ensemble were highlighted.

Lighting by Paddy Keane gave each scene its own distinct character, with tight, well‑focused spots picking out punchlines and broader washes shifting smoothly to reflect the show’s constant changes in mood and location. Bold colours for the big musical numbers, softer tones for narrative moments and playful effects all contributed to a lively, responsive design that supported the comedy without ever distracting from it. Sound by John Ormerod and his team was clear and consistent throughout, providing a strong technical backbone for the production. Sound effects landed precisely where they needed to, enhancing the comedy without ever pulling focus, and the balance between vocals and orchestra was excellent. Every word sung could be heard cleanly, allowing both the humour and the storytelling to come through with confidence.

Stage Manager Ian Rimmer kept all departments running smoothly, ensuring the show flowed continuously from scene to scene. With projections, props, set pieces, and costume changes all working in quick succession, this was no small task, yet Ian and his crew remained completely unobtrusive throughout. I did not see a single crew member onstage until Pauline Nuttall was deliberately brought on by Sir Robin during a comic moment, proof of just how quietly and efficiently the backstage team ran. The set, hired from Hyde Musical Society, was impressive in scale, with large castle walls dominating the rear of the stage and a large wooden gate opening to reveal the Lady of the Lake. These towering walls also provided the perfect backdrop for the infamous French scene. The “very expensive forest,” complete with a modest slither of ivy, offered a perfectly tongue‑in‑cheek nod to the show’s humour. Props were plentiful and well handled by Fleur‑Lily Bramley, Jonathan Mallinson and Pauline Nuttall, from the shrubbery to the Trojan rabbit, all used to significant effect. Projections guided the audience clearly from place to place, and even God made an appearance, adding an extra layer of Python‑esque charm.

Wardrobe Lead Jackie Livesey and her assistants ensured the entire cast looked authentic, characterful, and stage‑ready throughout. From peasants to monks, soldiers to minstrels, Finnish national dress to the Knights of the Round Table, every look was handled with care and consistency. With costumes hired from Charades St Helens and Carlinghow Theatre Company, the production enjoyed a rich variety of styles that fitted neatly into the show’s colourful, larger‑than‑life world. Wigs, overseen by Brenda Murray and supplied by Pendle Hippodrome Theatre Company, added further polish; despite the sheer number in use, each one suited its character and stayed secure through energetic choreography.

Among the principals, Matt Whatley made a superb King Arthur, commanding the stage with a deep, resonant voice and an authoritative presence that anchored the chaos around him. His comic timing was excellent, and by playing every absurd moment with complete seriousness, he allowed the humour to land even more sharply. Charlie Birtwistle was a delight as Patsy, his facial expressions timed to perfection and often stealing laughs with the smallest gesture. Always Look on the Bright Side of Life, complete with tap routine and umbrellas, was a standout moment for Charlie. Mikey Thompson kept the audience in stitches as Sir Robin, his wonderfully nervous demeanour and sharp timing making the character instantly endearing. His Minstrels, led by Dawn‑Marie Nichols, enjoyed a lively spotlight of their own with Brave Sir Robin, earning a huge round of applause for their shenanigans and Dawn-Marie’s vocals.

Paddy Darnell‑Walsh gave a terrific performance as Sir Lancelot, full of bold characterisation and gleeful bravado. His scenes in Swamp Castle with Prince Herbert were especially memorable, his facial reactions alone drawing laughter, and his costume reveal during His Name Is Lancelot was hilarious. Simon Thompson offered two excellent character turns as Sir Bedevere and Not Dead Fred, with He’s Not Dead Yet proving a real crowd‑pleaser. Terry Banham was hugely enjoyable as Dennis Galahad, moving from argumentative peasant to long‑haired hero with great comic flair, complete with hair‑tossing and mirror work. Leanne Wharf shone as the Lady of the Lake, glamorous, confident, and very funny, with Diva’s Lament delivered with full vocal power and playful mischief. Alfie Feeley was superb as Prince Herbert, capturing the character’s gormless innocence with brilliant facial expressions and impeccable timing.

Richard Hubbard contributed three strong characters as the Mayor of Finland, Brother Maynard, and the Black Knight, each distinct and confidently delivered. Julie Laing gave two jolly funny performances as Concorde and Tim the Enchanter, the latter complete with a wonderfully exaggerated Scottish accent. Kris Wlodarczyk handled both the Historian and Herbert’s Father with clarity and confidence, his scenes with Herbert were excellent. Sue Fry appeared as Dennis’s Mother and in several other cameos, each delivered with neat timing and a playful touch highlighting Sue’s versatility as an actor.

The French Taunter was led with great gusto by Gordon Mitchell, supported by fellow Frenchmen Mark Blackman and Phil Rowe, their scene drawing laughter from the audience. Craig Hall and John McKenna played Herbert’s Guards, one gloriously confusing each sentence, and the other sliding down his pike, adding further comic colour. David Gorton made an unforgettable Knight of Ni, towering above the cast on stilts and commanding the stage with great comic presence. The Laker Girls were energetic and entertaining, lifting every scene they appeared in with sharp choreography and great enthusiasm. The ensemble as a whole were lively, committed and clearly enjoying themselves, their enthusiasm infectious and adding to the overall success of the show.

This production was fantastic, every department, from performers to backstage, from costumes to crew, worked together to create a joyful, wonderfully silly evening of theatre. My thanks to the everyone at BMTC for their warm welcome and for presenting a show that embraced the spirit of Spamalot with such good humour and infectious energy.

 

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