Spamalot

To sum this production up in one word is difficult – but only because there are so many superlatives I could choose. STUPENDOUS (capital letters intended) was my eventual choice.

Portsmouth Players began their 90th Anniversary year with a real riot, presenting the Portsmouth debut of Monty Python’s Spamalot. This is the Tony Award winning musical based on the 1975 film Monty Python and the Holy Grail. Like the film, it is a highly irreverent parody of the Arthurian Legend. Unlike the film, the comedy is much better controlled and the musical does not take itself or its genre at all seriously, at times venturing into pure pantomime, with slapstick comedy, cross dressing, audience participation and lots of corny, bawdy (and very old) jokes.

This was Chris Nelson’s first production for Players, but being a former member of the group, who has since gone on to act and direct professionally, he obviously understands the theatre, the company and the audience well. As someone who found Monty Python and the original film only sporadically funny, I approached the show with some trepidation. I needn’t have worried – we were in safe hands. Right from start of the overture, I was roaring with laughter as the very talented and energetic cast somehow managed to maintain the manic pace they set at the start all the way through both acts, leaving me exhausted with tears rolling down my face at the end.

Professionalism shines through every aspect of this production. The amazing sets, stunning and colourful costumes, fantastic lighting – even the props were top-notch (especially the Trojan Rabbit!)  As we have come to expect from Players, the stage crew handled scene changes swiftly and quietly and the band, under the capable baton of Andrew Woodford, produced an excellent, well-balanced sound with many comedic effects to enhance the action. Even the sound system, which can sometimes be poor at The Kings, was pretty good.

I cannot praise the cast and ensemble highly enough: talented and professional to the core, many taking on several roles. Roger Keevil as King Arthur and Chris Brooke as his Baldrick-esque sidekick Patsy (and his horse, and even Susan Boyle), are well paired with excellent singing voices and great stage presence keeping the pace and plot (such as it is) moving along with consummate ease. Georgina-Rose Rust, as Lady of the Lake, is a new face to me on the Players’ stage, but what a singing voice she has! Her portrayal of a temperamental diva in her solo “The Diva’s Lament” was perfection. Tony Bryant, James Bradbury, Edward Chase, Nigel James and Chris Murray, as the various knights, princes, not quite dead bodies and other roles too numerous to mention, further enhanced the professional quality of the show, all giving their different roles strong, unique characters.

What fantastic value for money Players’ tickets represent – we got a stunning West-End standard show for a fraction of the cost and a superb evening’s entertainment.

© NODA CIO. All rights reserved.