‘Spamalot’ is a royal romp

CMPAC’s production of King Arthur entertains the court

 

BY SAM DESMOND

Coconut hooves and cockney accents are abound in CM Performing Arts Center’s production of “Monty Python’s Spamalot,” which opened on Saturday, Feb. 14.

A fitting Valentine’s Day treat for patrons, “Spamalot” had audiences roaring (and wheezing) with laughter from the British classic based on a “retelling” of the Arthurian legend.

Fans of the original 1975 movie, “Monty Python and the Holy Grail,” can rest assured that all quotable elements are intact in this musical version, including the Knights who say Ni, “A shrubbery!” “’Tis a scratch,” “I fart in your general direction,” “Why else would I have this outrageous accent,” and “I’m not dead yet!” to name a few.

Director Jordan Hue developed a beautifully timed production that really leaned in on the actors’ comedic timing ability as well as strong voices.

Music director Matthew Surico and conductor Kevin Merkel provided a rich and enveloping orchestration that complemented and lifted the characters’ performances, especially Amanda Mac’s as Lady of the Lake, who belted out some of the most memorable (and sarcastic) numbers in the production.

Choreographer Kevin Burns excelled in the wide variety of dancing styles in the script and managed to make each irreverent scene (one includes gameday cheerleading from the “Laker Girls”) funnier than it was intended to be.

Costume designer Chakira-Iliana Doherty’s clear inspiration from the original movie succeeded in standing on its own as a creative expression of the text.

Don Dowdell as King Arthur, known for the gravitas and wild-eyed humor he brings to characters, portrayed the regal patriarch of an eventual 1,000-year dynasty with satirical sauciness and irreverent ire. Dowdell’s accent work was impressive as his over-the-top aristocratic voice had lovely dips in intonation to illustrate the comic nature of the quest and his court.

As previously mentioned, Amanda Mac as the Lady of the Lake stole the show with her embodiment of a Broadway diva in “The Song That Goes Like This” and its reprise. When out onstage donning lingerie and a silk robe, Mac channeled Patti Lupone’s demanding aura and rallied for her part to play a bigger role.

Joe Kassner as Patsy was the consummate foil for Dowdell’s Arthur and his big, loving eyes were a draw to the audience the entire run of the show. The physicality of Patsy could be a play on its own with Kassner’s rendition.

Kevin Callaghan as the closeted Sir Lancelot was stupendous in the role and just the right amount of cheeky. In “His Name is Lancelot,” we get a mega-show of Callaghan’s comedic chops.

Matthew W. Surico as Sir Robin, with deadpan facial expressions in the face of fear, were hilarious and invited the audience to feel the lapsed bravery of the character. In “You Won’t Succeed On Broadway,” Surico’s exquisitely calm but strong voice carried lyrics brushing up against a racial slur into a hokey and sweet anthem.

Andrew Lenahan as Sir Galahad was a crowd favorite with his constant movement of his luscious, Fabio-locks and general vanity. In “The Song That Goes Like This,” Lenahan’s scintillations in his voice held their own against the Mac powerhouse.

Will Brennan as the Historian and Prince Herbert was the standout of the show with a near-angelic balcony scene. The shift from his high-pitched speaking voice as Prince Herbert to his encompassing alto singing voice in “Where Are You?” and “Here Are You” is the basis of all comedy.

Winter has been a long grey, day of freezing temperatures and “Monty Python’s Spamalot” is a great way to warm up with laughs.