Spamalot

There are fewer and fewer people about now who remember Monty Python as the original phenomenon; and it was a ground- and mould-breaking comedy genre. So it was with some trepidation I went to see Spamalot (the stage version of the Flying Circus) in case the premise on which it was based (taking the mickey out of the establishment in the late 1970s) was too out of time to be understood by modern audiences (and for some of the cultural references to be somewhat politically incorrect now). 

But this superb rendition of the show blew away any doubts. This version brought out all the humour and enjoyment without seeming to be dated. I have seen some productions of this show in the past that made it feel a bit of a comedy dinosaur but this was bang up to the mark. I thought it was better than many professional productions I have seen. Charles Doherty's is a beautifully-pitched Arthur – mainly straight (no mugging or joshing) but with a twinkle in his eye that says he gets the joke but is not letting on. I have seen some Arthurs in my time but this is a masterclass in how to portray it (seriously, which makes the humour stronger). Stuart Liddle is a gem of a Patsy. It would be easy to go for cheap laughs but he is much funnier, making an effort to treat the character with respect thus giving scope for more and better laughs. Nicely carried off. The Lady of the Lake (Jo Jo Hatfield) could be relegated as "just a pretty face" part but in this case JoJo plays it with full character. I looked forward to every bit of her performance and was not disappointed. And what a voice. James Mitchinson’s Sir Robin was a joy and Steve Mason’s Lancelot a hoot. They and the other principals (Jay Robinson, [Jamie Douglas], Dan Collins and James Forster) were all high quality performances, all played deadly straight and all the better for that. 

There’s no need to goof up Spamalot and none of the cast ever did. The set-piece sight gags were all very well done, especially the sword fight dispatching various limbs; the team had put a great deal of effort and care  into even the slightest of routines and it paid off handsomely. The devil (and the success) is in the detail. The Principals were very well supported by the rest of the cast; each and every performer gave their all, effortlessly and with panache. The orchestra were both a delight to enjoy for their playing and an accomplished accompaniment for the action and singing on stage. There is a good collection of hit numbers in this show and none of them disappointed; these were some of the best renderings of classic pieces I have seen. The individual and collective performances combined, with the setting, costumes, props and scenery/props, to gel as an entertaining and top rate show worthy of the setting. Congratulations to Bea Atkinson (director), Malcolm Moffatt (musical director) and Sandra Laidler (choreographer).

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