Utterly Grailworthy Spamalot [review]
Wed-Sat @8pm / Sat-Sun @2pm / Sun @7:30pm
Bass Concert Hall (510 E. 23rd Street)
[info] | [tickets]
Spamalot is "lovingly ripped off" from Monty Python and the Holy Grail. Many fans of the movie, ourselves included, know its dialog so well that we can hear even the subtlest variances in line reading—not just the words, but the cadence and rhythm. In several spots, Spamalot is directly lifted from Holy Grail, and curiously enough that's where the show is weakest. We expected some repetition of the original—a musician with a blockbuster hit can hardly skip performing the song in concert—and we enjoyed the taunting Frenchman, the not-dead-yet plague victim, and the black knight. However, we laughed most either when the actors chose a notably different take on a line, or when the script took off in another direction altogether.
The keenest diversion from the original is the addition of the Lady of the Lake. The spectacular Merle Dandridge, who comes to the tour directly from the Broadway company, was an instant hit with the audience. Here is a woman who really knows how to use her voice, from tossing a throaty snarl into just the right spot of a song, to pacing her dialog at exactly the right comedic beat. In a musical that doesn't shy away from self-reference, Dandridge's solo, "The Diva's Lament," in which the actress gripes about spending too much time off stage, brought down the house.
Much ado has been made about Richard Chamberlain's acceptance of the role of King Arthur for this touring production, and the 74-year-old actor doesn't disappoint. His take on the so-called Arthur King is a departure from Graham Chapman's work in the film—with Chamberlain's solid presence and warm yet commanding voice, he simply can't help being regal—yet he honors Chapman's unyielding commitment to the role as an honest-to-gosh king who is just trying to get his work done. As any Monty Python fan knows, the king is the closest thing to a straight man Holy Grail has to offer, and Chamberlain graciously makes room for his fellow players to shine.
And shine they do. The troupe of adventure-seeking knights comprises Sirs Robin (James Beaman), Lancelot (Matthew Greer), Galahad (Ben Davis), and Bedevere (Christoper Gurr). As in the film, the actors take on several other roles throughout the performance (Tim the Enchanter, Brother Maynard, Herbert's Father, Concord...the list goes on), and every one showed the multiplicity so perfected by the Python players—and some amazing singing chops to boot. Though things got off to a somewhat flat start, we sensed that the cast was either adjusting to performing in a new city, or perhaps was a tad road weary; the show has been touring for almost two months with a steady eight performances over five days, two days off, repeat repeat repeat. Nevertheless, the valiant knights steadily cranked the energy higher and higher 'til it was a rollicking, no-holds-barred blast by the final number. Credit should also go to the rest of the cast; the supporting players and dancers were universally gorgeous, funny, and bright.
Needless to say, the production's values are very high, and it shows. The set was big and complicated yet beautifully functional, the costumes were lush and amazing, the lighting and special effects were awesome—and so on. Tickets range from $21-71, and to be blunt, you get your money's worth—plenty of bang for your buck. The newly renovated Bass Concert Hall is fun to roam, and offers some great views of campus. With an upcoming lineup of award-winning shows—Avenue Q, Rent, Annie, Mamma Mia, and Wicked—Broadway Across America's season is definitely worth noting on your calendar.
