Spamalot continues at Bridlington Spa until 23 September and then tours until 7 April 2018.
Star rating: four stars ★ ★ ★ ★ ✩
The performance of the current Spamalot tour I attended didn’t start off well. A 15-minute delay to curtain up – possibly caused by technical difficulties backstage – was accompanied by irritating animal-like noises coming from the public address system.
However, when the audience cheered the dimming of the lights, it was clear that the mood had not turned ugly. And we were into the breathless mash-up that is Spamalot.
I quickly lost count as one theatrical trope after another was parodied. Among others, a Sally Bowles pastiche with a figure frozen in the spotlight with hat and chair; hooded monks intoning sinister Latin prayers; heroic knights fighting on despite grotesque wounds.
Add to this mix some familiar Python gags – coconut halves for horses hooves; knights who like to say ‘Ni’; the Fish Slapping Dance – and you begin to get a sense of the pace and energy of the show.
Among many ironies running through this production is the physical presence of the central character of King Arthur, played by Bob Harms.
He actually has features sufficiently heroic to have played an old-style matinee idol King Arthur, yet here he is jesting and gurning as he pursues the Grail.
Sarah Harlington, as The Lady of the Lake, sings splendidly, whatever style she is called on to adopt. She is the character most responsible for breaching the fourth wall of theatrical convention, making direct appeals to the audience for attention when she has not been given enough stage time.
Rhys Owen is the ever-present Patsy who provides the coconut accompaniment as both a horse and as tap shoes, delivering the foil to King Arthur’s negligent arrogance.
The overall effect of the show depends on ensemble playing. Of the 13 cast members, only two do not play several parts.
Marc Akinfolarin is credited in the programme as Sir Bedevere, but he also delivers the classic Monty Python role of the old crone. Norton James’ transformation from Sir Galahad to the brutish father of Prince Herbert is astonishing.
The band, under musical director Dean McDermott, plays well enough, but may have been a little underpowered.
Daniel Buckroyd directs with pace and invention, often updating the show to reference current events, while adding allusions to local pubs and clubs.
The momentum is maintained throughout and, of course, the audience responds well to a scene where some innocent is propelled onto the stage to further the action.
Sara Perks’ set design is suitably am-dram though the glitz of the costumes is impressive.
Justified reservations? What I experienced was a Selladoor production boosted by a cast that had the energy and commitment to win me over, providing a most enjoyable night in the theatre.
Mike Tilling
www.selladoor.com/productions/spamalot
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