Reviewed by Ewart Shaw, Friday 25th May 2018.
As I threaded my way through the hungry crowds on Gouger Street, en route to the Arts Theatre, I was singing, quietly, "Once in every show there comes a song like this". I really like
Spamalot. I'm of the generation that grew up on the Goons, and moved seamlessly to Monty Python. I have a Spanish Inquisition T-shirt, and have tossed the Holy Hand Grenade of Antioch under the back wheels of speeding cars. It was a great evening. The only thing missing was a full house, which this show so richly deserves.
You can take for granted the casting and direction for a moment, this is the Marie Clark Musical Theatre, but the choreography, from the Fish Schlapping dance through to the end, was energetic and inventive, thanks to Rachel Dow and Rebekah Stonelaiken, and the costumes, coordinated by Narelle Lee, were suitable knightwear, grubby when peasantry and sparkly bright when necessary.
The number of costume changes, and changes in character required of the ensemble were exhausting to contemplate, and there's a whole show waiting to be staged of Spamalot from behind the scenes.
Brian Godfrey's big achievement lies in getting everything right on the knight, and ensuring that the madness on stage didn't topple over into chaos, and Ben Stefanoff, with a fine band under his hands, kept the energy going to the end.
The cast, however, do expect to get a mention, and they represented the depth of talent that Adelaide can muster for a show of this vitality. Casimira Hambledon is outstanding as the Lady of the Lake, every inch the dampish Diva, especially when demanding to know what happened to her part.
Michael Butler, as King Arthur, brings a solid and attractive presence to the role. Buddy Dawson is impressive as Sir Robin, explaining that the show won't succeed on Broadway because of the lack of Jews. I was going to invite the local rabbi, but she's busy on Fridays. Sebastian Cooper is strong as Galahad, and gets to join in the song that goes like this, lucky man. Damien Quick is Not Dead Fred and the Historian, but steals everything as Prince Herbert, and Jamie Wright comes out delightfully as Lancelot. Chris Bierton gets to go French, and it's too easy to overlook the self-effacing Ben Todd as Patsy or Pasty,
Sancho Panza to Arthur's Don Quixote.
The ensemble was great; full of energy. They just lit up the stage. Well, actually, they had help. There was great lighting from Rodney Bates, run by Noah McKay and Nicholas Finch. The sound was managed by Rodney Bates.
Word in the foyer afterwards was that the show was called by the ASM, Taylor Scheid, a major undertaking and well done. It might explain why the manifestation of the Almighty, the typecast
Michael Palin, was a little delayed but, as
Johann Sebastian Bach is careful to remind us, Gottes Zeit is die Allerbeste Zeit (BWV106), and I don't think I need to translate that for you.
But, OK Adelaide, there is nothing worth watching on television, other than reruns of Buffy and NCIS. Why were you not at the first knight? You may have been to High Society, the final performance of which was less than a week before the opening of this, but you can still go to this. You won't wear out your welcome at the Arts Theatre. You will feel a lot better for yourself, and so will the hardworking cast and crew.
P. S. Lady Cara sweeps all before her at the interval, but should be much better lit.
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