Spamalot

Spamalot is the 2004 musical adaptation of Monty Python’s 1975 film, ‘Monty Python and The Holy Grail’, a parody retelling of the legend of King Arthur's quest for the Holy Grail. I adore both Monty Python’s movie and musical versions of this story, and must confess, was somewhat unsure of how a youth society could handle the contents of the piece. Could young people, many of whom wouldn’t be familiar with Monty Python’s comedic stylings, be able to hold up Spamalot’s absurd, surreal material?

Of course, I need not have worried. The small cast of Stage Squad Youth did an outstanding job in bringing this mega Broadway and West end hit to Stockport’s Pear Mill, delivering not only fantastic triple-threat performances, but also delivering the comedy of the show like true professionals.

Sean Kennedy’s direction and Jennie Kennedy’s choreography used the smaller stage space well, creating clear distinction between scenes, and leading the audience well through the narrative. There were some strokes of outstanding creativity when it came to reimagining some of the show’s iconic scenes for the Squad House stage, such as Logan Eastwood’s ‘Tim the Sorcerer’ appearing above the audiences’ head. Praise should also go to Musical Director, Danielle Eastwood, for some fantastic work creating a gorgeous ensemble sound from the young cast, but also for some exceptionally well-rehearsed and directed principal soloist performances.

The entire of the ensemble did a brilliant job during the show. Many cast members played multiple roles and did so with gusto and characterisation. I feel I should mention Edan O’Hara for their hilariously funny appearance as The Head Knight of the Knights of Ni (a personal favourite part of the show for me, and performed fantastically, even behind a comically sized helmet).

Beach Darnley led the ensemble as the bumbling and loveable (while slightly insufferable) King Arthur. Beach delivered a confident and well-rounded performance, which allowed the audience to feel safe in his hands. His comic mannerisms and timing were perfect for the role and was a pleasure to watch.

Maisie Hinde delighted as Lady of the Lake, with powerhouse vocals and comically diva-ish characterisation. Maisie coped effortless with the demanding singing required of this role and should be applauded for that – I see a bright future ahead for this young performer!

Jonathan Guy, Aoife Tierney, Cleo Wilson and Lizzie Bradley made up the Knights of the Round Table (Galahad, Lancelot, Robin and Bedevere respectively). All shone as their individual characters in addition to working as a core team to create some fantastic moments within the show. Jonathan Guy’s performance as Sir Galahad was particularly outstanding, delivering a mature and extremely funny performance (especially in his rags to riches scenes).

Finally, I would like to give a huge congratulations to Aria Eastwood for her portrayal of Patsy, King Arthur’s often overlooked and forgotten footman. While not the largest part in terms of material, Aria excelled in every moment she was given, demonstrating real talent in all three of the major disciplines. I couldn’t keep my eyes of her engaging, and endearing performance whenever she was on stage. A huge well done, Aria!

If I could give the young performers in this production one piece of advice, it would be to be aware of your eyelines. In such an intimate performance venue, your eyes should be just as engaged in the performance as your bodies, faces and voices! Wondering eyes into the audience can pull us out of the story and your character.

Overall, this was a well-crafted performance, full of joy, heart, and fantastic talent. Huge congratulations to everyone involved, and I look forward to returning to the Squad House for Jack and The Beanstalk in January.

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