Spamalot

Not an easy show to pull off successfully, but this take-off of “Monty Python and the Holy Grail” certainly worked for M.A.M.A. To be successful, this show requires either an enthusiasm for, or, a knowledge of Monty Python, and Director Justin Skelton demonstrates at least one of these – or, I suspect, both!

The plot is simple. King Arthur’s quest is to find the Holy Grail and in doing so travels the length and breadth of England (and further afield), meeting up with and knighting several persons en route. Consequently, from the myriad of characters in the show, review space necessitates that I concentrate on the main characters in the plot. King Arthur is the mainstay of the plot and trots and canters around the countryside in his quest. Mark Becher treats this character with complete seriousness, managing to remain totally straight-faced throughout. On his travels, Arthur is accompanied by his faithfully (wo)manservant Patsy, superbly played by Justine Harthill. In a similar vein to Arthur, Justine’s straight-faced approach to this ridiculous role led to much-deserved laughter from the almost capacity audience. This, together with her well-rehearsed clicking of her coconuts in time with King Arthur’s horse riding skills added further hilarity. My favourite character in the show must be the Lady of the Lake (Alison Henry). Alison – self-proclaimed diva, if her biog is to be believed – succeeds in taking over the stage on each and every appearance as well as having two of the biggest numbers in the show “The Song that goes like This” and “The Diva’s Lament”, both demonstrating her excellent vocal range. Well done Alison, comedy as it was meant to be performed!

A noticeable trait of MAMA’s performances is the first class diction in individual and ensemble deliveries – always important when a show is not one of the better known ones. MAMA’s fine ensemble never detracted from the fun of the show, remaining in character throughout (no matter how silly!).

Choreography by Lisa McLeod was, again, a pleasure to watch, with footwork only going awry on the very rarest of occasions!

The nine piece band under the careful direction of Julie Durham, achieved a fine balance between singers and orchestra – never falling in to the trap of the band outplaying the performers – However, remind me not to sit directly in front of a tuba in future!! Julie’s thorough rehearsing of soloists and ensemble was obvious, and a great pleasure to listen to.

Technically, sets worked very well and costumes by Candace Higgins were very colourful and appropriate. Lighting by Craig Dixon and Ian Henderson worked well in the confines of this intimate theatre and sound by Ian Cunningham achieved that perfect balance that we always look for – but don’t always get!

Thank you for allowing me to review your show while deputising for my colleague Rep, Dorothy Johnstone. (PS Happy to come back any time to review MAMA’s show, Dorothy!)

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