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Spamalot
Presented by:
PLOS
Musical Productions
Venue:
Frankston Arts
Centre
Reviewer:
Robbie Carmellotti
Date Reviewed: Friday
8th
January, 2010
Within the first 5
minutes of PLOS Musical Productions Spamalot commencing, memories of
my childhood came flooding back- Images of sitting on the couch with
my dad, being forced to watch full movies of nothing but fart and
boob jokes, sexual innuendos, parodies and of course joke after joke
of how stupid man can be. The movie would always follow with an hour
long ode to Monty Python, re –living jokes, voices and scenes. On
Friday night in Frankston, I sat and watched around 400+ men exactly
like my dad, sitting there bellowing out belly deep laughter at the
crass and somewhat predictable humour, intensely clapping at the end
of scenes, and on the whole, oblivious the fact that they are
watching musical theatre. Spamalot attracts a different type of
crowd than your usual theatre lovers, and it appeared to me that
PLOS managed to do the show justice to every die hard Monty Python
fan in attendance... Well it sounded that way anyhow.
I’m not the world’s
biggest Monty Python fan, dare I say I am the least- however, I
promise not to be bias by that fact while reflecting on PLOS’
overall production. I guess my main interest in seeing the
production was to look at the technical and production elements that
PLOS would offer.
It would be
difficult to leave and not be blown away by both the Set and the Set
design. A beautiful creation that was so suitable for the show. So
much detail went into every aspect of it, and all the hard work
didn’t go unnoticed, nor did the intelligent and well thought
through design.
Costumes were well
designed, ranging from royalty to peasants, with the occasional
nationality specific Finnish and French outfit. Not to mention
countless ensemble dance & scenic outfits. Costuming this show would
not have been an easy task. Criticism would go to the decision to
dress some cast in seemingly inappropriate designs for their body
shape or weight, sexy doesn’t have to be a midriff and ra ra skirt,
especially if a 2 piece isn’t flattering to the more voluptuous
shaped gals.
Musically the show
had strong points, and was obviously conducted very tightly.
Ensemble vocals did lack harmony strength and power in several
numbers, this may have been a microphone or balance issue, also, I
was in the rear of the dress circle, and perhaps it was a projection
issue.
Having only seen
the boot leg DVD of the Broadway production prior to seeing it Live
with PLOS, I can’t be sure if the staging has to be strictly as per
the script, but it would seem the directional team decided to follow
the shows initial blocking choices to match that of the Broadway
production. I did notice a couple of funny insertions that were
obvious directional choices- The Lion king, Pride Rock parody-
possibly the shows highlight moment with Emily Doran as The Lady of
the Lake blowing everyone away with her ‘Circle of Life’ rendition.
The inclusion of a miming Britney spears & Peter Allen impersonator
also had the crowd in stitches. Insert my question- Was Peter Allen
a Jew? I thought not, and though I get the gag of him being in ‘You
won’t succeed in Broadway’ given PLOS’ 2009 show of ‘The Boy from
Oz’, the song tells how you need to either be or have a Jew to be
successful on Broadway. I’m happy to be corrected if he indeed was
Jewish, but I do feel a more appropriate celebrity Jew spoof would
have had an even bigger and relevant effect.
The show had two
standouts in my opinion, Michael Fletcher was brilliant in the role
of Patsy, his comic timing was effortless, natural and
unpredictable. His interpretation matched that of a Baldrick type
from Blackadder and kudos must go to both the actor and director for
the final product that was Patsy. James Davies managed to create
constant laughs from the entire auditorium, and again his comedic
acting seemed extremely natural and unscripted. It was fantastic to
see someone in a supporting role, step up and shine brighter than
you what you would expect from even a leading principle.
As a whole
ensemble, the blocking and choreography was exceptionally tight,
again the layout was very similar to the professional production.
Both director and choreographer must have shared an easy working
relationship as the two areas complimented each other and blended
really well. Ensemble standout has to go to Jodi Raynes who
performed some fantastic roller skate choreography doing both dance
and tricks. Obviously a skill she picked up from her professional
days with Starlight Express. What a talent.
The production team
consisted of many PLOS favourites with Danny Ginsberg taking charge
in the director’s seat, Malcolm Fawcett-MD, Karen Taylor-Pottingter-Choreographer.
Jason Bovaird & Michael Brasser designed the lights. Michael
Fletcher was in charge of building Heath McKenzie’s set design &
Brett Wingfield was the shows costume designer.
I’m not convinced I
saw the same unexplainable quality that I have come to expect from
PLOS. Perhaps it’s merely a script issue? I guess, how can a spoof
musical compare to the likes of Cabaret or Thoroughly Modern Millie?
Potentially it was a casting issue, some of the lead principles were
quite wooden and one dimensional, lacking the ability to completely
let go of personal inhibitions and allow the required stupidity to
flow through their body’s and demand laughter.
PLOS are staging ‘Singin in the Rain’ later in the
year, and though it may be too late for you to see Spamalot, it’s
probably best we all save up our $35 (plus an extra twenty for the
drive down the Nepean) in preparation for what I’m sure will be an
excellent show.
Robbie is currently
directing New Beat Theatre Company’s March production of ‘BARE’ and
is also in Pre production to Co Direct the Victorian Premiere of
‘Reefer Madness’ with Fab Nob’s. Previous direction and/or
choreography credits include- ‘Rent’, ‘The Wedding Singer’,’ West
Side Story’, ‘Disco Inferno’ & ‘Hearts on Fire’. Professionally he
is a dancer and works full time performing, teaching and
adjudicating.
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