Review: MONTY PYTHON'S SPAMALOT at Orpheum Theatre Memphis

You don't have to be a fan of the beloved 1970's British comedy "Monty Python and the Holy Grail" to enjoy Spamalot but it certainly makes it more fun to know what jokes are coming and see them live on stage. In 1975, Monty Python and the Holy Grail grossed more than any other British film screened in the US and is still considered to be one of the greatest comedy films of all time. Iconic scenes from the film, such as the Knights who say "Ni", the Trojan Rabbit, and the barnyard animal-tossing Frenchmen, are featured in the musical and give the audience a sense of nostalgia. 

In Eric Idle's book, the Spamalot Diaries, he reveals how he and John Du Prez were searching for a subject for a musical and Idle decided that The Holy Grail would be perfect. Idle wrote the book and lyrics, and co-wrote the music with Du Prez. They decided Chicago would be the place for previews and in 2004, the show began at the Schubert Theatre. In February 2005, the show began previews at the Schubert Theatre in New York, officially opening on March 17th. Spamalot was nominated for 14 Tony Awards at the 59th Tony Awards, winning the Tony for Best Musical. The production closed in 2009 and is estimated to have been seen by over 2 million people. In 2006, a London production opened, with several original Broadway cast members reprising their roles, and it closed in 2009. The first North American tour opened in 2006 and two more came after, in 2010 and 2013. The North American revival tour launched in 2005 and continues to dazzle cities. There have also been multiple international productions, including Australia, Spain, Germany, and Sweden just to name a few. This is the second time Spamalot has delighted Memphis audiences and I think it's very cool to say that I was in the audience for its previous run in 2007! 

I have heard actors say that it is immensely difficult to attempt to step into the shoes of the "original" cast. But I do love it when a performer makes the role his or her own, and surprises us with new things. Major Attaway (King Arthur) steals the stage as soon as he enters. His comical facial expressions as well as his deep commanding voice captures the audience immediately, making us believe that yes, he truly is the King of England (even as the Galahads argue that he has no legitimate rule over anyone) We finally get to appreciate his soothing tone a bit more in Act II, particularly during "I'm All Alone".

One of my favorite things about Spamalot is that, in tribute to the film where the actors play multiple roles, all of the actors on stage do the same, save for Arthur and the Lady of the Lake. We usually see the ensemble portray multiple roles but even Arthur's brave knights double up as multiple people. Blake Segal (Patsy), Sean Bell (Sir Robin), Chris Collins-Pisano (Sir Lancelot), Leo Roberts (Sir Galahad), and Ellis C. Dawson III (Sir Bedevere) all have their own moments in which they display their humor (and voices!) I want to send a special kudos to Sean Bell-- a show with different dialects is not an easy one and it is often difficult to make out what the actor is saying. Bell's diction and enunciation truly impressed me! I still remember my professor in Dialects class going from person to person as we attempted our monologue in different dialects, and explained why she could hardly understand most of us. It's not easy and the lines are often lost as the dialect gets thicker. 

Speaking of lines getting lost, I was laughing as I was listening to the family beside me, complaining that they couldn't understand the Lady of the Lake's song. Their teenage daughter hissed "yeah, it's supposed to be like that!" Amanda Robles (Lady of the Lake) stole every scene she was in, despite the fact that she is "offstage for far too long" but her quick wit and hilarious comedic timing combined with her incredible belting and lung capacity (seriously, it is not easy to purposely make it difficult to understand lyrics while reaching those HIGH notes) but she makes it look easy and was definitely one of my favorite parts of the show. I agree with you girl, whatever happened to your part?! 

The show is also filled with exhilarating choreography (by Josh Rhodes) and insane movement styles that includes lots of flips, cartwheels, running from falling cows, and tumbling. Steven Telsey (who appears at first as the Historian, a dull role as it appears at first) but Telsey returns to the stage as Not Dead Fred, among many others, and is "not yet killed" many, many times. He shows his range in each role and delights in every single one of them. 

Along with the toe-tapping choreography, Jen Caprio's costume design has audiences gasping with delight. Though we are in the Middle Ages and everything is bleak at first, we are treated to colors and sparkles and sequins as the ensemble dances their hearts out! We practically get a full Pride parade with rainbow fans as Prince Herbert helps Sir Lancelot come out of his chainmail-filled closet during "His Name is Lancelot" (which has always been one of my favorite numbers of the show) and at the end of the show, as we are obviously putting on a Broadway show with lights and sequins and Jews ;) there must be a wedding scene and everyone is dressed in their most colorful best! 

I wouldn't particularly say this is a great show for the whole family, as there is quite a bit that is not appropriate for children but I saw LOTS of kids in the audience on opening night and they were laughing right along with their parents so maybe they were all brought up on Monty Python humor! It's sure to entertain all ages, that much is true. 

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