Spamalot

Certainly the production team of Dan Rayner, Lisa Rowe and Joe Ringer brought out the best in their excellently cast show (and they had the choice with some turned away), the talents were exploited to the full in a very special production.   All brought out in dazzling style with those costumes designed and made by Martin Frost, against that substantial and good set from Little Shop of Hire, and lighting design by Matt Cross.

The Company were full of energy and motivation, style in their many roles, great vocals and dynamic dance movements throughout, and the many costume changes at break-net speed: this was definitely a production to fight to appear in and all were of the highest calibre and obviously enjoying every moment.

Larger than life in character and style and talent and voice, Martin Rodwell was an obvious choice to play Arthur and his many stage experiences in both acting and directing contributed to this realisation of the role wanted by so many.   And his ‘support team’, always at his side and helping to keep the ship on an even keel with dry humour and great timing, Ian Chisholm as Patsy was the perfect foil for the Arthur moods.

The four knights: Sir Galahad (Alex Firth-Clark), Sir Lancelot (Sam Watkinson), Sir Robin (Tom Guttridge), and Sir Belvedere (Matt Scantlebury) were all that could be desired, tall, excellent voices and great projection, very mobile and flexible even to the great tap routine, and how they worked as a team and with Arthur in a fast and slick rendition of this theatrical piece. And they doubled in many smaller roles in character changes with no troubles. The other male roles perfectly covered, and again doubled and trebled as need be: Nick Bird kept appearing in various guises and stole the stage each time particularly as Prince Herbert’s Father,  Tom Monument made his mark as Enchanter and Taunter,  Zac Sowter as another Taunter,  George Page as Black Knight in first Threshold role made quite an impact,  Nic Gordon as the luckless and vocal Herbert in the tower, and Charles Tweed as Minstrel with his assistants Aly Butcher and Claire Doughty, their many roles all so good.

And stealing the show with her professionalism, her style and looks, her amazing vocals and range, her total stage presence just making the one focus whilst on stage, Holly Graham as the Lady of the Lake was amazing, and how well her numbers came over in solo and duets, and of course she needed her moment as the Diva.

Overall the great take-home impression was of fun and music and movement and colour in overload, and certainly Threshold can be proud of giving all the enjoyment of the evening to the full-house audiences.

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