Theater Review: Monty Python’s Spamalot

by John Garcia of John Garcia's The Column

It seems that a very familiar tradition arrives each season on Broadway: Musicals whose origins came from a motion picture. Just this past season we saw Legally Blonde, High Fidelity, and Mary Poppins on the great white way, with two still playing and one closing rather quickly.

But for every hit, you have some very expensive corpses of musical flops lying around the alleys of Broadway houses. Let me remind you of the hits and misses: The Producers, Hairspray, The Color Purple, Footloose, Sunset Blvd, The Lion King, Beauty and the Beast, Tarzan, Saturday Night Fever, Thoroughly Modern Millie, The Full Monty, Big and Dirty Rotten Scoundrels.

From those listed above, some became big buffo hits at the box office and with critics, others also won Tonys, and some are still on Broadway. But there are others that wheezed and gasped to survive on Broadway, only to collapse and become road kill all over the rialto.

The new season is just now getting started on the great white way and the first musical is Xanadu, based on the cult Olivia Newton John flop. Mind you, this musical had its first hiccup with its original lead actor breaking his foot while in rehearsal on roller skates. Now it has a new male lead and a new opening date. And further up the road we have Mel Brooks' Young Frankenstein (opening in November) and Disney's The Little Mermaid in December.

But look beyond that, there are still other "movies into musicals" coming down the pike. They are either in the works or having out of town tryouts. Such as John Waters' Cry Baby and Tim Burton's Edward Scissorhands.

It is a Herculean task to churn out a hit from a movie. It takes the perfect balance of cast, book, music, direction, and tons of luck to become both a financial and artistic hit.

Spamalot is based on the motion picture, Monty Python and the Holy Grail, which premiered in March 1975. Monty Python of course are those wacky Brits that became a cult sensation with their TV comedy show in the 1970s. They started their TV success on the BBC in May 1969, but the TV show would not cross over the pond and onto American television sets until 1974 via PBS.

The film follows King Arthur and his band of Knights of the Round Table as they try to find some dinnerware, specifically the Holy Grail. This film became an instant hit with college crowds all over the world. Even after it first premiered, thanks to the creation of the VCR (and later DVR), generations of college students would sit in groups, guffawing from watching the hilarious film. I personally have seen the film over fifteen times. It is so far out there, and yet it retains its comedic brilliance after all this time.

Eric Idle (one of the stars and writers of the film, and an original MP cast member) for years tried his best to get his fellow Python alumni to help him create the film into a live musical. They all refused. Finally Idle decided to take up the challenge on his own, writing both the book and the lyrics. For the music he collaborated with John Du Prez (who wrote the scores for many of Python's films).

Spamalot had its Broadway birth at the Shubert Theatre on March 17, 2005. Its original stars consisted of David Hyde Pierce, Tim Curry, Hank Azaria, Michael McGrath, and Christopher Sieber. The musical was knighted with glowing reviews from the critics and would later go on to earn a staggering fourteen Tony nominations. They would take home the "holy grail" of Broadway: the Tony for Best Musical. The other nominees that year were Dirty Rotten Scoundrels, The Light in the Piazza, and Putnam County Spelling Bee.

Today it is still running after 900 performances and shows no signs of slowing down. I personally saw Spamalot on Broadway in December 2006 with most of its original cast still intact.

As with past reviews, when I see the original Broadway production and then its national tour, I like to point out what changes have occurred. Because sometimes there is some real stinkers that water down the eye candy in its sets, costumes, lighting, cast members, etc.

I still shudder when I am reminded of the dreadful tours for Titanic and Ragtime -- so much was not there that was on the Broadway stage. Patrons were so ripped off from what transpired between the Broadway stage and the tour's final version.

Thus Spamalot was met with great glees of cheers from me when so much of the original physical production was there on the Music Hall stage at Fair Park. There are some changes though.

The two towers that stand on either side are full size set pieces at the Shubert. The tour has a smaller, more flat design. Another difference was the massive grail for the Lady of the Lake to stand in. The Broadway version is an actual massive gold goblet that is bejeweled, the tour it is smaller and a flat, painted piece. Those really were the two major changes I actually noticed in the scenic department.

But the rest is all there intact! Tim Hatley's mouth-watering, eye-popping, glittery costumes are all there. He must have depleted the entire stock of rhinestones and beads from some factory that makes them in New York to create these elaborate costumes. Many of the costumes are layered and covered in eye-blinding, dazzling glitter that it would make Bob Mackie throw his patterns on the runway and say, "You win!"

Several of the gorgeous gowns that the Lady of the Lake wears are literally dipped in glass beads, rhinestones, and sequins that glisten and shimmer in the light. The knights wear classic armor that has authentic design of those Middle Ages finery. Even the furs on some of the costumes look so realistic you expect some sheep and buffalo to appear on stage naked, point to the costumes and scream, "That knight is wearing my body!"

Hatley also designed the sets, which both pay homage to the film and also remind us that it's a stage production. From the fluffy cotton candy clouds, to the fantastic array of special set pieces that fly in from the rafters, glide across the floor, or even spin around. These "fly in" set pieces help bring home some of the jokes that occur on stage. I won't spoil the fun for you here what they are though. But take a look in the Playbill, it even tells you that a scene takes place in "A very expensive part of the forest."

And let's not forget the jaw-dropping floor to ceiling animation that appears on stage, as well as on the clouds, and even trees! You will love this animated design element!

Hugh Vanstone's lighting is sublime. His palette of colors, themes, special gobos, and where he has lighting flooding in create true stage fantasia. From the wacky colors of Camelot done up like garish Las Vegas, to the dark enchanted forest, to a sleek gay discothèque, he creates magic with his lighting design.

Here are some very interesting facts about Spamalot:

• There are over 100 wigs (including facial hair) in the show, all hand-tied and made of human hair, yak hair, and synthetics supplied from New York, California, and London.
• The mud make-up is a formula specially designed for Spamalot.
• The poorest peasants' costumes in the show are actually made of raw silk.
• 3 feet of "blood" has to be ironed prior to each performance.
• There are over 100 undergarments in the show, including 30 pairs of men's fishnets and 56 codpieces.
• Some of The Lady of the Lake's costumes are all comprised of hand-strung glass beads.
• Among the props is a cow that weighs 45 pounds and it takes two stagehands to catapult it over the castle.
• The "Feet of God" is the heaviest piece manually flown in, weighing 1700 lbs.
• The Orchestra uses a Spama-horn, an instrument specially developed for and used only in Spamalot.
• It is a guarantee that one knight will lose their head each knight.

Even if you are not a fan of the film, this show is great for those who love musical theater. Why? Because the show actually pokes fun at itself, the musical. Both the good and the bad. There are some side-splitting references to Phantom of the Opera, Les Miserables, CHICAGO, Fiddler on the Roof, and even West Side Story. Sure, it is not politically correct, it even satires Jews and Gays. But it's done in such a hysterical way it really doesn't offend. Idle pokes fun at everything-from religion to the French, to the social caste system.

After watching such magnificent comedic performances on Broadway I was a little worried on how the tour company would match up. Thankfully the majority of the cast do hold his or her own and create some new found surprises within the roles that I did not see from the originals.

Michael Siberry is smashing as "Arthur, King of the Brits". His demeanor truly is that of a King in search of wise knights and a cup. With great comedic precision, he does some great comic takes to the audience. He remains regal and royal, even if he's surrounded by a bunch of Looney tunes. Siberry has great fun as well with his solo, "I'm All Alone."

The actor who gets to wear the scene-stealing crown is Patrick Heusinger. He is wickedly hilarious as the "French Taunter", in fact he does such a terrific comedic interpretation of this role that he surpasses Hank Azaria (who originated that role). Heusinger is a very talented actor (who possesses a robust tenor voice) and earns huge laughs as "Sir Lancelot". The comedic timing, pace, and delivery he provides for this role really shines into comedy gold within the second act. He also has the audience rolling in the aisles as the "Knight of Ni" and "Tim the Enchanter". Each role is unique and loaded with Heusinger's smashing comic talent. With this array of wonderful, wacky roles, you can see why this brilliant actor stole the show!

Sadly the same cannot be said for Anthony Holds as "Sir Galahad", the role that earned Christopher Seiber a Tony nomination. I saw Seiber and he was so, so funny as the handsome knight with flowing blonde locks that I almost peed in my pants from laughing so much. Holds severely lacks a big, booming, belting voice (which Seiber has in abundance). Thus this makes the duet "The Song That Goes like This" not as funny as it was intended to be. The lyrics refer to key changes and the screeching of high notes, but Holds lacks the vocal chops to make the song the gut busting number it was on Broadway.

Holds also portrays the "Black Knight", where he did do a much better job. But I was puzzled as to why his legs did not fall off during the sword battle with King Arthur. On Broadway, the Black knight puts his back against the castle, where upon the King slices his legs away, where they flop and land on stage. But Tuesday night this did not happen, thereby making the famous film sword fight anticlimactic on stage.

Robert Petkoff is just marvelous as "Sir Robin", the knight who is a major chicken and tends to soil his knightly garb at the hint of danger. Petkoff has a gorgeous tenor voice that turns his second act solo, "You Won't Succeed on Broadway" into a major show stopper.

Finally in this colorful array of zany performances there is some sensational comedic work provided by Christopher Sutton as the delicate, fragile, and very pale "Prince Herbert" and Jeff Dumas as "Patsy", the..um..horse of King Arthur. Dumas and Sutton both have soothing tenor vocals that turn their solos into audience-pleasing numbers.

I actually bought the Spamalot score way before I saw the original Broadway production. So by then I had fallen into a hypnotic trance with Sara Ramirez's mega power voice and interpretation of the material. But just a mere few months after she won the Tony for Best Featured Actress in A Musical as "The Lady of the Lake", she left the musical. TV audiences now know her as one of the cast members of ABC's hit TV show, "Grey's Anatomy."

When I saw the Broadway production, it would Lauren Kennedy portraying the role, who was dreadful. She was too bland, stiff, and vocally boring in the role.

Thus, Tuesday night when the water princess first appeared on stage, I immediately remembered Kennedy's performance and dreaded what will occur here. This time it would be Esther Stilwell portraying the water nymph. She too seems to have the same vocal problems with "The Song That goes Like This" duet with Anthony Holds. She struggled with the modulation and the booming belt the song so badly requires. But when it came for her to tackle "Find Your Grail", she blossoms big time! Her voice became crystal clear with a soaring belt. But she also achieved solid laughs with her great vocal riffs and runs within the song (which is required in order to make it so damn funny).

Ms. Stilwell then brings down the house with her 11:00 o'clock number, "The Diva's Lament". Here she allows her voice to fill the elephantine music hall. It would be Stilwell's divine performance that finally washed away the memories of Kennedy's lackluster Broadway performance.

The problems with the show Tuesday had to do once again with the dreaded sound system. The first forty minutes had body mics wheezing, popping, cracking, and hissing around the various leads. It was so distracting and sadly we lost a lot of the jokes and punch lines. The company number "I'm Not Dead Yet" was a huge showstopper of a number on Broadway. But at the Music Hall the body mics on the lead actors kept cracking and hissing so much, that it just killed that number. Finally midway through Act One the mic problem was fixed. However, at times the actors spoke so soft that their body mics could not pick up what they were saying.

Another problem was the thick English and Cockney accents. Sometimes the accents were so thick that they overpowered the actor's voice. Resulting in a hodge podge of mush mouth spilling over the orchestra pit. Because I knew the film so well, I knew what "apparently" was said. But for a newbie I'm sure they would be completely lost.

Even with its minor flaws, this still is a knee-slapping, bending-over-in-laughter smash hit! It was a great delight in discovering new laughs, jokes, physical gags, and puns that I missed when I saw it on Broadway. The majority of the company is exceptional & the production design is simply magnificent.

If you are a fan of the film, you will be howling in laughter even before the lines are spoken. Then there are those of you who worship at the altar of Musical Theatre, which means that you will find so many references of past musicals in this one that you will be wiping tears of laughter from your face.

If you are neither of the above, then just go and experience the comedy genius of Monty Python. But if you don't go, I will for sure give your address and cell phone number to the French Taunter. And trust me when I say he will fart in your direction!

Spamalot plays through July 8th at the Music Hall at Fair Park. Tickets on sale at The Box Office at 542 Preston Royal Shopping Center, online at Ticketmaster.com or by phone at 214-631-ARTS.

GRADE: A