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 Cedar Falls Gazette Review
REVIEW: ‘Spamalot’ serves up humor on a sterling silver platter Diana Nollen easterniowalife.com
Sunday, January 15, 2012
CEDAR FALLS — Being a Monty Python fan from the “Flying Circus” days, I knew I would love “Spamalot” a lot. But the Broadway national touring musical swinging through the Gallagher-Bluedorn Performing Arts Center on Sunday exceeded my wildest expectations.
I knew I was in good company for the matinee, when the second “bit” in the show (the chanting monks) drew hoots and howls from the capacity crowd. That reaction just snowballed for the next two hours of magnificent silliness as King Arthur turned his motley recruits into dashing knights of the Round Table and embarked on a quest for the Holy Grail.
Right in the midst of all the song-and-dance revelry was Monticello native and University of Northern Iowa graduate Jacob Smith, as the handsome Sir Dennis Galahad, the menacing Black Knight and the macho Neanderthal father of prancing Prince Herbert.
Smith was truly wonderful in each portrayal, wrapping his rich baritone around his knightly silly songs, his not-dead-yet Black Knight skewered onto a castle door and his blustering bully father. He drew the biggest roar, of course, during the final bows.
Every actor is roar-worthy, from Arthur Rowan as the self-assured King Arthur and Brittany Woodrow as the bewitching Lady of the Lake to her scantily clad Laker Girls and Eric Idle as God. OK, so we don’t get to see Idle, but his unmistakable voice booms from above as he admonished the knights not to look up his skirt.
Monticello native Jacob Smith, who spends most of "Spamalot" as dashing Sir Galahad, dons a different suit of armor to play the Black Knight, who loses all his limbs to King Arthur's sword, Excalibur. (Scott Suchman)
Idle, one of the original Monty Python sketch comedy crew, wrote the script and cowrote the music for this stage version of the 1974 classic film, “Monty Python and the Holy Grail.” Many of the best-loved lines and naughty bits are captured onstage and surrounded by hilarious song and dance lampoons, tap dances, soft shoes, high-kicking Las Vegas lovelies in their smalls (that’s Brit-speak for lingerie) and the Fisch Schlapping Finns who start the show in colorful lunacy because they thought the narrator said “Finland” instead of “Britain.”
So many moments are just showstopping hilarious, but perhaps the greatest joy is hearing the way Woodrow not only knocks every song out of the theater, but seeing her channel Cher, Christina Aguilera, Celine Dion and all those other divas with a penchant for plugging 10,000 notes between the two written notes actually written in the score. She displays a tremendous range of singing and acting depth, as well as comic timing.
The scenic, costume and lighting design are as broad and colorful as the characters they encase. Animation tossed liberally throughout adds hilarious Pythonian touches, including the lyrics for a curtain-call singalong of “Always Look on the Bright Side of Life.” That’s something this tour-de-farce does so well.
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Council Bluffs NonPareil Review
Thursday, November 10, 2011
'Spamalot' funny, inspirational
By Mike Brownlee
OMAHA – Two coconuts, clapped together to simulate the sound of a horse, drew applause in Omaha last week.
“Monty Python’s Spamalot” played at the Orpheum, taking the crowd – buckle up – on a quest for the Holy Grail that included encounters with women from a lake, a delightfully cute killer bunny and the French.
Based predominantly on the world-changing 1974 film “Monty Python and the Holy Grail,” the musical tells the history of King Arthur’s quest for the grail – note: depiction may not be accurate – while also taking time to make fun of Broadway.
What follows is a free-flowing take on the play.
I don’t remember the last time I was at a play and I’ve never been to a production of this caliber. Like a little kid with a shiny object, I was enthralled with the dramatic posturing of the actors. Hands, emphasis, eye contact, belt out a song, flourish. So dramatic, everything. Cool.
Funny and inspirational, this play had everything.
A song sung a few times in the show featured the chorus line, “find your grail.” The tune encourages us all to go after the prize, be it happiness, a new job or a good sandwich (these are my interpretations of a “grail”).
“There’s nothing you can’t do,” the characters tell us.
On the same note, when King Arthur experiences an existential crisis during the search for the grail. He’s discouraged and depressed.
“Life’s a piece of (“s” word for poop) when you look at it,” the King of the Britons laments.
Cheer up, his sidekick Patsy tells him. Look at the – cue music, let’s sing here people – “Bright Side of Life,” with help from song.
Uplifting.
Surprisingly, the musical has just one real reference to SPAM, the canned ham. I expected it to play a slightly larger role.
Camelot is a Vegas-ish place, replete with showgirls and roulette tables. The number about Camelot was fun, but I couldn’t help but wish they’d skipped the castle, like the movie.
If you’ve seen “Holy Grail” you’ll remember the knights plan to go to Camelot, followed by a cutaway to (different) knights singing about the round table. Upon reflection, King Arthur decides that no, they won’t go to Camelot.
“It is a silly place,” he says.
Ha. I love that little scene so much, I wanted it in play form. Alas.
The curtains were barely drawn when King Arthur first entered the stage, “riding” the pastures of Europe. Well, he doesn’t actually ride a horse. Patsy claps two coconuts together to simulate the sound of a horse, while he holds his hand like it’s on the reigns. Didn’t think I’d explain the lede, did you?
The press kit for the play mentions the origins of the coconuts usage. The comedy troupe filmed “Holy Grail” on a shoestring budget, so what they wanted – the knights riding through Europe on horses – was too expensive. Hence the coconuts.
“Spamalot” featured just the right amount of making fun of the French.
Unlike the movie, we see the Lady of the Lake, who bestowed upon Arthur Excalibur, his super-awesome sword, which entitled him to the kingship. Of course, not everyone thought a sword was the proper way to dole out power, leading to a pair of great lines from Dennis Galahad.
“Supreme executive power derives from a mandate from the masses, not from some farcical aquatic ceremony. You can’t expect to wield supreme executive power just because some watery tart threw a sword at you.”
I’m a sucker for self-referential, which this play displayed in a number of spots, the best of which came in a song from the Lady of the Lake (played by Brittany Woodrow). She sang a song asking, “Why haven’t I been on stage in a while?”
They told me it was for everyone.
Actors Jacob Smith (three characters, including Galahad) and Michael Berry (Patsy) told me “Spamalot” is for everyone, not just Python diehards. They were right.
My wife does not care for the movie. I rented it before going to the show to brush up – always be prepared, people – and she lamented having to sit through the film again.
But during the play she cheered louder than I, even throwing in a few “woo!” calls for Woodrow, who had an amazing voice. As we were leaving the Orpheum she turned to me and said, “this was way better than the movie.”
Way better? Can’t say I agree, but “Spamalot” was superb.
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The Post-Bulletin Review
Tuesday, November 8, 2010
'Spamalot' the holy grail of fun
By Drue Fergison
The Post-Bulletin, Rochester MN
"Spamalot," performed Nov. 2 at Mayo Civic Center by a nationally touring troupe produced by Phoenix Entertainment, was a delightfully lively romp, with a little something for everyone.
Written by Eric Idle and John Du Prez, who composed most of the music, the original 2005 Broadway production, directed by Mike Nichols, was nominated for 14 Tony Awards and won three, including Best Musical. That success continues to present day.
Billed as "lovingly ripped off from" Monty Python’s 1975 film "Monty Python and the Holy Grail," the production included a small collection of brass musicians, a conductor, digitized music and stage imagery.
While all of these elements worked together, it was the singer-dancer-actors — most of whom played multiple roles — who really brought the thing to life.
Along with this came first-rate diction, energetic physicality in staging and choreography, impeccably timed forward propulsion, lavish costume changes, masterful music, lyrics and singing and a nonstop, up-tempo blather of the absurd, punny, witty, provocative, outrageous and just plain crass.
The main plot is about King Arthur’s special relationship with his “horse” Patsy, his creation of a motley menagerie of knights and their collective quest for the holy grail. As expected, there were predictably unpredictable mishaps along the way.
Lady of the Lake’s love element with Arthur is obviously a backroom affair (until their marriage, that is) lamented in her realistic musical tantrum (“Whatever Happened to My Part?”) of a diva not getting enough “prime time.”
The musical is really a parodic riff on Broadway musicals, making fun of itself at every turn. The plot is rife with the characteristically naughty bits for which Monty Python is renowned.
What made the show a unified success was the music. Covering styles including Gregorian chant, medieval organum, French can-can, early rock and roll and gospel, to name just a few, the music was spot-on. Everything was paired with appropriate or, inappropriately appropriate, costumes and choreography.
The music was classy, clever, fresh, funny and authentic, even down to the “high-D” trumpet so appropriately tucked into a Beatles-styled tune.
The grail was found lurking at seat D101. Its occupant was dazedly escorted onstage, made to reveal her name and then memorialized in a blur of a small trophy award, Polaroid photo and a quickly adapted song incorporating her name, thus celebrating her unwitting role in the "holy unveiling.”
The audience ate it up, as they did with other tailor-made references to Mayo Clinic, Jimmy Johns and, of course, the Spam song.
In spite of all the hoof-in-mouth hoopla, however, the overarching message of the musical was an uplifting one: that it is by people (and animals!) working together that accomplishments are achieved.
The role of the audience in finding the grail was a knowing wink-and-nod testimonial to the fact that Broadway is dependent upon its audience. Rarely have I left any performance with such a jaunty gallop in my kilted skip.
Drue Fergison is a Houston freelance writer.
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Council Bluffs Daily Nonpareil Feature
Thursday, November 3, 2011
'Spamalot' for fans, non-fans alike
By Mike Brownlee
OMAHA – You don’t have to be a stuffy, upper-class twit or even a drunken rugby fan to enjoy “Spamalot.”
So says the press kit for “Monty Python’s Spamalot,” which begins a three-show run at the Orpheum Theater Friday night. According to actors in the production, you also don’t need to be a Monty Python fan to enjoy the show.
Based on (promos say “lovingly ripped off from”) the seminal 1974 film “Monty Python and the Holy Grail,” the play features King Arthur, the Knights Who Say “Ni” (pronounced “knee”) and SPAM, that loveable meat-is-it-meat?-I-guess-it-is-maybe foodstuff.
“We get a lot of mixed audiences. We do get some huge fans of movie and sketch show. But we also get a lot who just like musical theater, also people new to theater,” said Jacob Smith, a Cedar Falls native who plays three characters – Sir Galahad, the Black Night and Father.
“We have something for people from age 10 to 80, men, women, Python fans, non-Python fans. You name it, there’s something in it for everybody.”
The play follows King Arthur and his Knights of the Round Table as they seek the Holy Grail.
“All these hilarious, crazy things that happen along the way,” said Michael Berry, who plays Patsy. “Verbal battles with French nights, being lost in the woods… King Arthur has a full-on existential crisis in the woods. The knights find love, find the grail and we end with a big spectacular number.”
The original 2005 production of the play garnered three Tony Awards, including best musical, and the show grossed more than $175 million during its first run (about 1,500 performances).
After graduating from the University of Northern Iowa Smith, 29, saw an audition flier for a community theater production of “Joseph and the Amazing Technicolor Dreamcoat” and “I just went for it.”
He got the part, beginning a foray in acting that took Smith to the New York City American Musical and Dramatic Academy and eventually to Spamalot.
“Everything, to be honest,” Smith said when asked what he enjoys about acting. “It’s so much fun. It’s great to be touring the country, meeting lots of great people doing this. Hearing 1,500 people laugh at you every night, it’s a pretty big rush.”
He said playing three characters is hectic, running around the entire show to get ready for another part, but, “that’s also what makes it fun.”
“What’s neat is all three characters are so different. It’d be different if they were close to each other. But they’re so very different, it’s just fun that way and easier to make the switch,” he said.
The nationwide tour – it began on Oct. 8 – is Berry’s first with the show. Patsy is King Arthur’s right hand man and anyone who’s seen the movie will remember that the knight’s aides provide the sound of a horse galloping as the knights “ride.”
“Surprisingly, that was one of the hardest things to do – get the horse noise down with coconuts,” the 24-year-old said.
Luckily, his sister, Alyson, was a champion horse rider growing up, so she helped Berry perfect the trot, cantor and gallop.
“We sat down and watched tapes of horses, practiced,” he said.
Berry grew up a Python fan, with his four uncles instilling in him a love of all things Python.
“Being able to do this show is a dream come true,” he said. “With a show like this, it is very funny, but it’s also very smart. The attention to detail in the script and production is great.”
“Spamalot” runs on Friday at 8 p.m. and Saturday at 2 and 8 p.m.
Tickets are available at www.ticketomaha.com, by calling (402) 345-0606 or at the Holland Performing Arts Center ticket office, 13th and Douglass streets. Group sales available by calling (402) 661-8516.
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The Saginaw News Review
Wednesday, October 26, 2011
Saginaw has a schlapping good time with "Monty Python's Spamalot"
Sue White | The Saginaw News
You had to wonder, Tuesday night at The Dow Event Center, what newcomers to the Monty Python insanity were thinking when a group of Finnish dancers took the stage in the opening scene of "Monty Python's Spamalot" and began slapping each other in the face with fish.
"No, no," shouted the announcer from a tower window, bringing "The Fish Schlapping Song" to a halt. "I said England, not Finland!"
From there, it was off, King Arthur trotting into view with his hapless Patsy clapping his coconut shells in rhythm to the imagined horse. It's a Monty Python classic, right down to the guards arguing from the towers about whether swallows could have flown the coconuts to merry England of 932 AD.
For the long-time fan, the true beauty of Tuesday's performance, a hysterical kick-off to the Broadway in Saginaw series, was the seamless way it slipped references and routines from the "Flying Circus" series and other films into the mix. A sheep would bleat from the orchestra pit, a line slipped into a scene would evoke memories of a dead Norwegian blue parrot, and a voice from the heavens would sound suspiciously familiar.
It was; original cast member Eric Idle is the voice of God.
Even before the lights went down, we were giggling, opening the program to find Fannnii Oopsaatli, Mooni Murikkikonnen and Ni-Jerkk Productions, in association with the Flying Finns Aerial Ballet, Rovaniemi Traffic Police, Border Guards for Christ and The International Friends of the Sauna pressing A Ruudo Kokki-Lapp Cheese Council Production of Bin Faaarkrekkion's new Moosical "Dik Od Triaanenen Fol (Finns Ain't What They Used to Be)."
Those jumping feet first into the experience must have marveled at the landscape it created with a simple backdrop, a few hovering clouds and scary, expensive trees. Oh, and there was the hand of God, and a foot on occasion, too.
This was, after all, King Arthur and the Knights of the Round Table's quest to find the Holy Grail.
Speaking of the Holy Grail, you had to sit close to poor Mary Walraven to realize how truly high she jumped with Patsy suddenly appeared at her side and pulled her onstage.
Suddenly, the Saginaw woman was dancing with the troupe, waving the Holy Grail in the air as they cavorted around her, throwing out references to the land of Stevie Wonder and Lady Erica from near the Big Lots store.
"My son bought these tickets as a gift for my daughter-in-law," the Saginaw woman said later. "Then it turned out he's going into surgery tomorrow so he asked me if I could go along. I had no idea of what they were up to; I just went along with it."
The crowd was with them throughout the night, breaking into spontaneous bursts of applause. And just as Adam Grabau had promised – he was Sir Lancelot, the French Taunter, King Ni and Tim the Enchanter – the cast fed off the energy, playing the part to the hilt.
It was interesting, too, to see how relevant the decades-old humor remains today. Do Dennis Galahad's rants against the government bring any recent protestors to mind? To borrow a line from one of the opening routines, it's not dead.
And, again seamlessly, the infusion of Broadway, from chorus dancers to French mimes to a sudden quest to make a Broadway musical, whatever that was, in a land that wasn't yet discovered, brought a whole new element to the fun.
"Spamalot" was bawdy, it was irreverent, it was politically incorrect in a way only Monty Python could do it. And for this Monty Python fan, it surpassed my wildest expectations, and they were set high from the start.
Apparently, I wasn't alone. You had to see the house on its feet at the close, dancing and singing along with the cast as the words to "Always Look on the Bright Side of Life" flashed across the classic clouds.
We can only hope the rest of the season -- "The Color Purple," "Blast," "Pop Goes the Rock" and a live performance of Straight No Chaser – can build on such a satisfying start.
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The Charleston Gazette Review
Monday, October 17, 2011
Review: 'Spamalot' conquers Clay Center
By Bill Lynch
CHARLESTON, W.Va. -- There's no getting around it. "Spamalot," the opening show for the new Broadway in Charleston season, was easily the weirdest piece of musical theater to ever cross the stage of the Maier Foundation Performance Hall at the Clay Center. It was also probably the funniest piece of musical theater to ever be part of that series or at least a close second.
"Avenue Q" in April was awfully funny, but "Spamalot" was definitely a good time, even if didn't bring out as many people as it should have. The show attracted a good crowd, but was far from a sell-out.
Written by Python troupe member Eric Idle and based more or less on "Monty Python and the Holy Grail," the show is a loose reinterpretation of the original story. It contains many of the same skits, a bunch of new songs but a couple of different plot points. Consider the show a modern remix of the Holy Grail with a sampling of material from "The Life of Brian" and "Monty Python's Flying Circus."
Most everything that needs to be is still there, though some of the emphasis has changed. Brave Sir Robin, for instance, has more to do in the stage version than he did in the film and Sir Bedevere has less.
As in the original, the show skewers history, mythology, politics and religion, but now, with a couple of musical numbers, also pokes fun at Broadway musicals, particularly popular shows based on movies (pretty much anything by Disney or Mel Brooks). There are plenty of references to both throughout the show.
While keeping with much of the best-loved parts from "Monty Python and the Holy Grail," Spamalot diverted just enough from the original source material to keep the story fresh. Even die-hard fans, the people who can recite every line, couldn't predict where the show would eventually end up, which turned out to be more conventional than the film.
While the show was laugh-out-loud funny all the way through, and the house was full of laughter, parts of the second act dragged a little and sadly, some of those old skits have been trimmed down to the bare bones.
At its best, "Spamalot" was a dolled-up homage to the original film and a silly, self-congratulating tribute to the comedy of Monty Python, which is kind of funny in and of itself. At its worst, the "Mad Magazine" treatment maybe marked down a comedy classic just a little.
Still, it was an amazing show and a promising beginning to a new season of Broadway in Charleston.
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Baltimore Sun Review
Sunday, October 9, 2011
'Spamalot' makes quick, rousing visit to renovated Modell Center at the Lyric
By Tim Smith
The newly renovated Lyric Opera House -- now officially the Patricia and Arthur Modell Performing Arts Center at the Lyric -- is open for business.
The inaugural season has an assortment of opera (Lyric Opera Baltimore takes its first bow next month); pop stars; the occasional icon (Tony Bennett next week, John Waters in December); and, this weekend, a bunch of crazy knights seeking the Holy Grail in the 2005 Tony-winning musical "Spamalot."
This is one of several bus-and-struck shows breezing in and out of the Lyric this season. Only one of three performances remains -- 1 p.m. Sunday afternoon -- and if you are looking for a quick lift, get over there.
I was pleasantly surprised Saturday night at how effective this touring production is. For one thing, it looks good. This is the first big show to use the Lyric's new modern backstage facility, replacing the ancient sandbag system for flying scenery, and the droll set pieces really do fly in this colorful staging. It seemed visually quite close to what I remembered on Broadway.
BT McNicholl has re-created the original Mike Nichols direction vibrantly. And the cohesive ensemble plunges into the deliriously zany business with admirable finesse.
Folks already tuned into the Monty Python world may have a better time with all of this than those unfortunates who don't grasp why the mere mention of Spam is hilarious, or what is so funny about a killer rabbit. But, hey, we can't all have superior comic tastes.
Arthur Rowan makes a worthy King Arthur. Brittany Woodrow brings a terrific voice and styling to the role of the Lady of the the Lake. Kasidy Devlin has a great fling as Sir Robin, as does Marylander Adam Grabau portraying Sir Lancelot, the French Taunter and a couple of other choice parts.
This well-oiled production reconfirms that "Spamalot" is a big, old-fashioned musical with a silly heart inside. It offers something to entertain and/or insult just about everybody. Can't ask more of show than that.
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Maryland Theatre Guide Review
Sunday, October 9, 2011
Spamalot at the The Lyric in Baltimore
By Amanda Gunther
Always look on the bright side of life, especially if you find yourself lost in a dark and very expensive forest. Or in the middle of downtown Baltimore as you head to The Lyric Opera House to see the winner of the 2005 Tony Award for Best Musical -Monty Python’s Spamalot - presented by Phoenix Entertainment. The show is lively, bursting with musical numbers that will keep you laughing from the first encounter with Sir Arthur and his knights – all the way to the company bow. Both fans of Monty Python and newcomers to the Python humor will thoroughly enjoy the ride as the quest for the grail begins. Picture a gaggle of men, ranging from brave and sword-wielding to cowering and pants-pooping. Did I mention they’re all in tights? Add glitter, big musical numbers, a coconut horse, the Lady of the Lake, and the Knights who say ‘Ni’, and you’re all set for a fabulous production.
The costumes are absolutely stunning. There’s so much glitter and sparkle that you feel dazed just looking at the performers at time. The bright colors scream Broadway even if it is a touring show. Designed by Tim Hatley, you can look forward to gorgeous sparkling dresses that highlight the diva of the show, The Lady of the Lake (Brittany Woodrow). She dazzles in the light in no fewer than five outfits, each one a unique design speaking levels of just how important she is, or at least how important she thinks she is. The flowery flamenco frilly outfits are perfect during the disco number in Act II, really creating the atmosphere of a burning-hot nightclub. The overall effect of the costumes is dazzling; you can’t take your eye off them at times, especially during the big dance number in Camelot.
And a large nod to the success of this production must go to the choreographer, Casey Nicholaw. As a Tony, Drama Desk, and Outer Critics Circle nominee you would expect no less (He won the Tony this year for his work in The Book of Mormon). The dances are entrancing, with near-perfect synchronization and breath-taking tap-routines that make you burst into applause. As the actors move; spin, jump, side-step, you want to move with them. It feels organic and well-rehearsed; a complex level of entertainment that is well worth watching.
With all the razzle dazzle of the costumes and the dancing - the actors are right on the level of enthusiastic performance to really keep the show on fire. Stunning performances from the ensemble create a great background for the supporting players. They sing in perfect harmony, strong and united, dancing and smiling with huge emotive expressions on their faces; the boys in particular know that there are no small parts in a Broadway-scale show. Scene stealers include James David Larson in his dual role of ‘Not Dead Fred’ and Prince Herbert. His comical dancing and high-kicking swings are reminiscent of an unhinged scarecrow and so very lively for a character who just finished being dead. And then he turns around and sings a beautiful falsetto as the not-so-closeted Prince Herbert, waiting rescue high in his tower. Whenever Larson sings he draws the attention to him with a dazzling smile and gorgeous voice, even when he’s a little girly.
But our shining diamonds in the rough poke through at various moments; The Brave Sir Robin (Kasidy Devlin) and Sir Lancelot (Adam Grabu), who is later featured as King Ni. Devlin has a shining moment late in Act II when he bursts in his main solo of the show, “You Won’t Succeed on Broadway if You Don’t Have Any Jews.” You feel his belting below as he cries out the hysterical song at the top of his lungs, projecting his voice from the stage to the rafters and back. With a huge grin, fancy footwork, and enthusiasm like no other – he steals the show in this moment as he gives it his all. Be sure to watch out for this number. Grabu has a similar performance, also late in Act II, where he professes his deep longing for acceptance from his bully of a father. He breaks down with such desperation and anguish written on his face that you almost want to cry, but you don’t because he bursts into a big musical song and dance. Be sure to keep your eye out for these two show-stealers.
But the real prize is The Lady of the Lake. Brittany Woodrow belts her heart out during the show, finding her own unique jazzy style to really own the character. It’s often difficult once a show has made a debut with a large celebrity cast to find the uniqueness of the character without copying the originator of the role. But Woodrow has no trouble as she wails her way to the top; sparkling and shining in her glorious gowns. Her voice is uniquely her own and so powerful that it will blow you right out of your seat. She commands her role as diva to perfection, especially during her big solo number “Whatever Happened to My Part?” Woodrow belts in anger and frustration that she’s been deceived by the producers, truly giving that sense of over-inflated ego despite her raw talent. A true masterpiece to watch on the stage.
The thing about this particular production that struck me as amazing was all the little hidden theatre references. I love a good musical that can give homage, however hilarious, to other musicals. Be on the lookout for references from Les Miserables, Fiddler on the Roof, Dreamgirls, West Side Story, and others. My personal favorite being during the number, “The Song That Goes Like This,” where the stage floods with fog, all of the Laker Girls pick up large candelabras, the Lady of the Lake and Galahad (Jacob L. Smith) float in on a boat and a chandelier drops from the fly tower. And at the end of the over-dramatic number the chandelier “crashes” down. A beautifully hilarious tribute moment if ever there was one.
So life is really up to you, and you must choose what to pursue. Pursue this amazing piece of Broadway on tour and at the end of it, I promise, you will find your grail. Find your grail!
Spamalot ends its run today at 1 PM at the Patricia and Arthur Modell Performing Arts Center at The Lyric Opera House – 110 West Mount Royal Avenue, in Baltimore, MD.
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Toledo Blade Feature
Thursday, October 6, 2011
The last laugh (and there are plenty)
BY JULIE NJAIM
BLADE STAFF WRITER
Arthur Rowan grew tired of introducing himself and hearing the tongue-in-cheek reply "Oh, like Arthur, King of the Britains," a classic reference to the 1974 comedy Monty Python and the Holy Grail.
Rowan's the one laughing now as he rehearses for a national tour as King Arthur in Monty Python's Spamalot presented by the Valentine Theatre Oct. 13 at the larger capacity Stranahan Theater.
"I'm living the dream," Rowan said recently during a phone interview from a New York studio where he and the cast of Spamalot were rehearsing for the first leg of the national tour opening this weekend in Baltimore.
It's a crazy, hectic schedule performing in a different city every night -- "literally, from the East Coast to the West Coast and parts of Canada," he said. "It's definitely going to come with its share of challenges, but it's a chance to bring a bit of Broadway to places that might not have experienced it."
Spamalot opened on Broadway in March, 2005. It was nominated for several Tony Awards that year and won three: Best Musical, Best Direction of a Musical (Mike Nichols), and Best Actress in a Musical (Sara Ramirez). In addition, it won two 2005 Drama Desk Awards for Outstanding New Musical and Outstanding Lyrics. The show closed after 1,575 performances in Jan., 2009.
This national tour is directed by BT McNicholl, Nichols' assistant director on the Broadway production. Written by Eric Idle, Spamalot, is largely based on the movie -- a spoof satirizing the legend of King Arthur and the Knights of the Round Table.
"The musical keeps most of the best lines from the movie and adds a layer playfully satirizing Broadway musicals," Rowan said. "No one should feel like they should see the movie to have a wonderful time with the show."
Rowan guarantees audiences will leave in a better mood than when they walked in the theater. "The plot does take some seemingly random twists and turns in order to get some good laughs in there."
Flying cows, flatulent Frenchmen, killer rabbits, and a chorus line of Laker girls -- sounds like some serious guffawing is on tap.
Rowan said he and the cast are having a great time rehearsing: "Monty Python and the Holy Grail is one of the absolute classics of comedy. We're tremendously inspired by it."
This is the veteran performer's first U.S. tour. He has performed in several Washington area theaters and in Virginia. His list of credits includes The Beast in Disney's Beauty and the Beast, Oberon in A Midsummer Night's Dream, and Octavius in Antony & Cleopatra.
Rowan spent four years working with the Pennsylvania Renaissance Faire as a performer, director, and fight choreographer before moving to New York in January. "I decided it was time to pick up and move to the Big Apple and make a go of it."
Within months he was cast as King Arthur. "It's something I am incredibly grateful for. I am delightfully excited and a little bit nervous," he said.
"Monty Python's Spamalot" includes some mature humor. It will be presented by the Valentine Theatre at 8 p.m. Oct. 13 at the Stranahan Theater, 4645 Heatherdowns Blvd.. Tickets prices range from $39 to $59. Information: 419-381-8851.
Contact Julie Njaim at jnjaim@theblade.com.
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