‘Spamalot’ review
‘An entertaining and joyous spectacle’
Oswald's Players' production of Monty Python’s Spamalot brilliantly reflected the satirical nature of Monty Python through a modern, visualist lens.
From the moment you walk in, you are transported to the world of Monty Python’s medieval land, including interactions with various knights and villagers. The show was on theatrical steroids, with a talented, zany cast juggling an astonishing number of roles, from villagers to showgirls, Can-Can dancers to French guards, with flair and gusto. I thought the overall focus on comedic relevance and accessible presentation were admirable. I admire how director Jack Radcliffe (assisted by Grace Grady) took high risks; exaggerations of comedic elements, subtle references to Durham stereotypes through songs, and a focus on crazy and absurd comedy were unhinged and certainly created humour amongst the audience, including the surprising yet joyous interaction when the holy grail is found.
There were some initial signs of nervousness in the band and the cast, which naturally created a gap in the ensemble. However, the arrival of King Arthur, played by Fred Walmsley, changed that. Walmsley commanded a serious stage presence and his powerful vocals, especially in ‘King Arthur’s Song’, really shone through. Also holding the role of Vocal Musical Director, you have to admire his overall contribution towards the show’s musical direction. I particularly commend his work on the sense of ensemble between the vocals, and there were some impressive and grandioso harmonies. King Arthur’s trusty steed Patsy, played by Lottie Goldthorpe, contributed towards the iconic comedic chemistry. She had a highly energised presence, and incredibly engaging facial expressions, but what was most impressive to me was her deep, perhaps almost unexpected, alto voice, which soared.
The musical gained substantial momentum, despite the initial nerves. The four knights of King Arthur’s Round Table (Joshua Brooks as the hilariously engaging Sir Robin, Seb Powell as Sir Lancelot, Alex McNeice as Sir Bedevere and Ben Mitchell as Sir Dennis Galahad) all brought unique energy and stage presence. The wildest moment, perhaps in the whole musical, was the song ‘His Name is Lancelot’, where the coming-of-age moment for Sir Lancelot is emboldened by creative lights and camp, jazzy costumes, creating lots of humour for all.
Elize Collins, playing Lady of the Lake, was truly outstanding. Her ability to reflect engaging stories created much-needed emotional contrast, and her vocal style was particularly impressive. Her performance of ‘What Ever Happened To My Part?’, reflected her sheer vocal brilliance and characterisation, with operatic qualities that are to be highly commended.
As Production Manager and Band Musical Director, Jake Holding should be massively credited for bringing each element of the show together to create an effective and engaging account. The use of set and props was incredibly effective and brought this musical to life, creating a real sense of medieval England and pageantry. Credit should also go to the costume designer, Ruby Briggs, for assembling many, many pieces of costumes, from the French to the Can-Can dancers, which contributed towards a modern, visual and engaging account. Special mention should also go to Lighting and Sound Technician, Tom Rickman, for some creative lighting which emboldened the satirical themes throughout, and clean sound balancing, with no mic feedback reflecting Rickman’s strong sound balancing skills, admirable for a non-theatrical venue.
The band also brought good energy to the music, though there were some inconsistencies, especially with the volume of the drums sometimes overpowering the singers. Holding, who also conducted, did a very good job of keeping the band together, however. It was incredibly impressive how cohesively the cast sang with the band, considering the positioning of the band behind the stage.
Elements of dance, choreographed by Maisie James (assisted by Tasha Holding), contributed to a sense of irreverence. From Can-Can to tap dancing, there was overall a good sense of energy and drive, reflecting the true absurdity and crazy nature of the musical.
Overall, this was an entertaining and joyous spectacle, with creative props and set emboldening a visually imaginative, comedic interpretation with much to enjoy for all.
By Zac Smith.
Spamalot is showing on Monday 9th June at 19:00 in the Mount Oswald Hub.