I note this all as background, because today we went to go see “Monty Python’s Spamalot” at the Ahmanson Theatre. As the cover states, Spamalot is “lovingly ripped off” from “Monty Python and the Holy Grail,” with the nibbly bits of “Life of Brian” tossed in. The show features book and lyrics by Eric Idle, and music by Eric Idle and John DuPrez, based on a screenplay by Monty Python. The story is roughly that of “Holy Grail”: Arthur gathers his knights together and goes looking for the Grail. You can find a full synopsis in the Wikipedia entry, but suffice it to say that all the favorite and expected Python bits are there: killer bunnies, cow catapults, farting French, gay jokes, cocoanuts, arguments about swallows, the Black Knight, etc. There are also other bits thrown in that are various parodies of the musical theatre biz, from the ethnicity of successful show producers, to parodies of numerous shows and composers. In the end, everyone finds their grails, and the show ends with a group sing-along.
Therein lies the success of the show, and theirin lies the problems. If one is a neophyte to Monty Python, the recycled bits are likely uproareously funny. If one is a rabid Python fanboy or fangirl, the bits are mandatory… and uproareously funny. If you are someone familiar with Python and to whom repeated humor become less laugh-out-loud the more often you hear the joke, the Python bits become checkmarks on a page. However, this is not to say the show isn’t funny: what saves the show is the new material. Although some is weak (the whole notion of Laker Girls as the cheering squad for the Lady of the Lake, the eventual Queen Gueneviere), some of it is spot-on, in particular, “The Song That Goes Like This” (which is a Phantom of the Opera parody), “You Won’t Succeed on Broadway” (which is a parody of “Fiddler”, and arguably a parody of every Mel Brooks musical), and “I’m All Alone”. Other songs, although drawn from the Python canon, are very well executed and enjoyable, in particular “I Am Not Dead Yet” and “Always Look on the Bright Side of Life”. Our production had an extremely cute topical number inserted about Sarah Palin to the tune of Frère Jacques. I also enjoyed Patsy’s line near the end, but I won’t give it away. So overall the show is enjoyable, and you walk away humming tunes. I guess that’s the meaning of success… even without Jews.
While I’m still on the subject of the story and presentation, I should also note that I don’t believe this is a show that will have a long future of revivals. I’m not sure the Python-bits are that timeless, and the parodies of other shows will become less funny as time goes on. Rarely do you see the topical humorous reviews such as “New Faces of 1952” or “Parade: A Musical Review” (the one by Jerry Herman) revived, no matter how good the material. Combine that with some of the unique technical projection requirements of this show (which cuts out the high school half life)… and my conclusion is that you should see this tour now. I’m not sure we’ll be seeing it in 2020 (whereas we might see “The Producers”).
Acting-wise, this is the National Touring Company, and is thus a well-oiled acting and dancing machine. Special kudos go to the leads: John O’Hurley as King Arthur, Merle Dandridge as The Lady of the Lake, Jeff Dumas as Patsy, and especially the conductor, Ben Whiteley, who was a very good sport for all the interaction they added to his normally hidden role. Others in the cast, who all performed admirably, were James Beaman (Sir Robin, Guard 1, Brother Maynard); Ben Davis (Sir Dennis Galahad, The Black Knight, Prince Herbert’s Father); Christopher Gurr [who I must note is the first actor to give his twitter feed in the program] (Dennis’s Mother, Ser Bedevere, Concorde); Rick Holmes (Sir Lancelot, The French Taunter, Knight of Ni, Tim the Enchanter); Christopher Sutton (Historian, Not Dead Fred, French Guard, Minstrel, Prince Herbert), Matt Allen (Nun, Killer Rabbi Ensemble); Timothy Connell (Ensemble); Lenny Daniel (Monk, French Guard, Ensemble); Erik Hayden (Sir Not Appearing; Ensemble); Alexa Glover (Ensemble); David Havasi (French Guard, Minstrel, Ensemble); Carissa Lopez (Ensemble); Jennifer Mathie (Ensemble); Tera-Lee Pollin (Ensemble); Darryl Semira (Minstrel, Sir Bors, Ensemble); Vanessa Sonon (Ensemble); Steven Wenslawski (Monk); and Paula Wise (Minstrel, Ensemble). As one can see this is a compact touring cast: players play multiple roles with aplomb.
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Turning to the technical side. The production was well directed by Mike Nichols, with choreography by Casey Nicholaw. The sets and costumes (designed by Tim Hatley) are appropriately Python-esque, intentionally non-realistic or humerous at times (such as the bottle dance scene). The lighting by Hugh Vanstone created the necessary mood, but didn’t make me stand up and be amazed, although the projection design by Elaine J. McCarthy was quite good (especially the intermission graphics). These projected graphics were very much in the spirit of Flying Circus. The sound design by Acme Sound Partners was weak: perhaps it was the Ahmanson or the tour, but the sound was muddied and it was difficult to make out the actors clearly. The special effects by Gergory Meeh were very good: I particular enjoyed the chandelier, the conversion of the Black Night, and the hand grenade. Wigs and hair were by David Brian Brown, with makeup by Joseph A. Campayno. The magic consultant (wouldn’t you love that title) was Marshall Magoon. On the music side, musical supervision was by Todd Ellison, with orchestrations by Larry Hochman, music arrangements by Glen Kelly, and music coordination by Michael Keller. The orchestra was conducted by Ben Whitely (who had to put up with a lot), and was reasonably large for the pit size: two keyboard players (tour), with a local group consisting of two woodwinds, a french horn, two trumpets, a trombone, percussion, a third keyboard, guitar, bass, drums, and a violin. The production stage manager was Kenneth J. Davis.
“Spamalot” continues at the Ahmanson until 9/2. Based on the audience we had, you should still be able to get tickets: if not Hottix, then student rush tickets (a large portion of both the mezzanine and balcony were empty, and you could see their fill patterns and where the price line changes). I’d recommend seeing it — I’m not sure this will be a regular tour once it is gone. There are some special $49/seat offers (limited days, mention code GRAIL), there may be $20 HotTix available, and rush tickets should be available).
At the show, the Ahmanson handed out their program for the remainder of the season. In this economy, they are playing it safe with all tours: “August: Osage County” (9/8 – 10/18/2009); “Mary Poppins” (11/13/2009 – 1/10/2010); “Dreamgirls” (2/24 – 4/4/2010), and “South Pacific” (6/29-8/22/2010). I’ll probably see a bunch of these, but I’ll do HotTix. It’s not that adventurous a season, but I can understand why they won’t risk a new musical, given the number of seats they have to fill. I’ll note that the economy also shows in their new payment option: you can now get season tickets with a two-part credit card payment. Translation: the theatre is hurting — more than ever, you need to support it by attending a show.
Dining Notes: We took advantage of the Sunday morning to do a dim-sum run to Empress Pavillion. Yum.
Upcoming Theatre: We’re doing our part of support local theatre: we attend regularly! Next weekend will find us in Saugus, where on Saturday July 18 @ 8pm we’re seeing Neal LaBute’s “Fat Pig” at Repertory East Playhouse (drop our name when you call the box office at 661-288-0000, and you can get half-price tickets!). July 25/26 is currently open, although waiting for tickets to “Cat on a Hot Tin Roof” at the Neighborhood Playhouse, in its last weekend, to show up on Goldstar. August 1st brings “Cats” at Cabrillo Music Theatre (our last Saturday matinee before our tickets move to Saturday evening); the following day brings “Guys and Dolls” in concert at 8:30pm at the Hollywood Bowl. August 8 brings us back to the Pasadena Playhouse for the musical “Crowns”. We have some vacation after that, but Saturday 8/29 finds us again at the Hollywood Bowl to see Liza Minnelli. Upcoming shows will also include “Hound of the Baskervilles” at Rep East, “Parade” at the Mark Taper Forum, “M*A*S*H” at Rep East, and productions at the Pasadena Playhouse and Cabrillo Music Theatre, as well as the Tom Paxton concert at McCabes. As a reminder, I’m also always looking for interesting productions on Goldstar and LA Stage Tix, so if you have a production to recommend, please do so.
Lastly, remember that a recent study showed that it isn’t possessions that are important — it is shared experiences. So go have one of the best shared experiences there is: go support your local live theatre, and help keep all the people who work at the theatre (from the cast to the technical staff) employed.
