BWW Reviews: Theatre Under the Stars' Rollicking SPAMALOT is Hilarious and a Ton of Fun

Having grown up on Monty Python reruns and films, it doesn't take a lot to get me excited about seeing a production of Monty Python's SPAMALOT. The hilarious hit musical is making a gloriously triumphant return to Houston in its first locally produced performance at Theatre Under the Stars (TUTS). The First National Tour enjoyed a four week run in the summer of 2007 that was co-produced by Broadway Across America - Houston and TUTS, and because of popular demand TUTS decided to produce the show again.

SPAMALOT is based on the motion picture Monty Python and the Holy Grail and features music by Eric Idle and lyrics by John Du Prez and Eric Idle. The show parodies big classic Broadway musicals while loosely following the plot of the film. Fans Monty Python's body of work will find themselves highly amused by the constant barrage of references to their more iconic characters and skits, while those unfamiliar with Monty Python will find themselves rolling in the aisles with laughter for entirely different reasons.

What really sets this production of Monty Python's SPAMALOT apart from others is the new and tremendously uproarious direction by Marc Robin. For those of us who saw SPAMALOT on Broadway, we notice the nods to the original direction by Mike Nichols. However, Marc Robin takes the campy and audacious jokes further and adds more innuendo into gestures. His shtick-filled SPAMALOT is a more raucous and bawdy SPAMALOT than what was seen the Shubert Theatre's stage, which made the production entirely more funny and engaging. Most importantly, his cast is so energetic and alive that they emphatically go for broke, repeatedly tickling our ribs with ease.

Marc Robin's choreography for this production of SPAMALOT takes the show to a whole new level as well. In compassion to the amount of dance that Marc Robin infuses his SPAMALOT with, Casey Nicholaw's original choreography only seems to have given the illusion that the Broadway SPAMALOT was a dance heavy show. Of course, Marc Robin's cast is larger than the Broadway company was, so he also has an advantage in that he can easily fill the large stage in Sarofim Hall with dancers and really blow the audience away with robust, high-energy tap numbers and flashy and enthusiastically entertaining choreography.

Music Direction by Jeff Rizzo is lush and dynamic. He conducts his orchestra with tangible passion, bringing out the full melodic sound of classic musicals, while skillfully balancing the vocal instruments on stage to lampoon the genre while landing gracefully and purposefully on every pitch.

Tom Hewitt is stellar as King Arthur. He deftly imbues his Arthur with perfected comedic timing, earning consistently riotous laughter. It is clear he is having a great time playing the role, and Tom Hewitt creates an electric and hilarious chemistry with his fellow cast mates as well. The largest payoff of the chemistry occurs during the adlibbing when he brings the shrubbery back to the Knight of Ni. Tom Hewitt's rich baritone voice is perfectly suited for the role and character, adding appealing charm to each number he sings. He also adds in delightful depth for "I'm All Alone," pristinely singing the ballad.

As The Lady of the Lake, Janine DiVita slays the audience with blithe wit and powerhouse vocals. Her Lady of the Lake is overflowing with diva-tude, emulating the iconic pop riffs and gestures of Christina Aguilera among others whenever she gets the chance, especially during the farcical anthem "Find Your Grail" and jocose "Diva's Lament." Her throwback references to Vegas lounge acts during "Knights of the Round Table" are inspired and devastatingly hilarious as well.

Jonathan Hammond is perfectly hammy in the scene stealing roles of The French Taunter and Knight of Ni. His French Taunter reduced me to uncontrollable fits of laughter. As the Knight of Ni, he dexterously reduced the whole audience and even Tom Hewitt's King Arthur to tears with his zany adlibs that cleverly referenced several shows that recently played around town (i.e. Alan Sorkin's A FEW GOOD MEN). Jonathan Hammond also breathes intriguing and beguiling life into his masculine and virile Sir Lancelot and sardonically dry Tim the Enchanter.

Kevin Covert's Concorde is perhaps one of the best characters in the entire production. As he muses on topical and relevant local humor while lying on the stage floor, he masterfully enchanted the entire house. Kevin Covert's clever bits in this one scene were showstoppingingly brilliant and golden. Kevin Covert also adeptly creates pleasing rib-ticklers with his characters of Sir Bevedere and his resplendently bawdy take on Dennis' Mother

As Sir Robin, Jeremy Webb is simply hysterical. He radiantly shines on "You Won't Succeed on Broadway," never missing a chance to earn numerous hearty and high-spirited guffaws. His Guard 1 and Brother Maynard are well crafted comedic characters as well.

Patsy is played to perfection by Brian Sears. Brian Sears earns a plethora of pealing laughter throught the entire performance. He also earns our wholehearted empathy as he joins Tom Hewitt's King Arthur of "I'm All Alone." He also does skillful work as the Mayor and Guard 2.

Proud member of the original Broadway cast of SPAMALOT, Brian Shepard splendidly beams and effortlessly makes audiences laugh as the stoic and stuffy Historian, the disease-ridden Not Dead Fred, French Guard, Minstrel, and the spirited and androgynous Prince Herbert.

Adam Monley does mirthfully humorous work with Sir Dennis Galahad, The Black Knight, and Prince Hebert's Father.

The large ensemble fleshes out the performance and induces everything from chuckles to side-splitting guffaws from the audience. I was particularly fond of their boundless energy in every dance scene and the Mogwai-esque, cutesy high-pitched noises that accompanied their Knights of Ni. Lindsay Bracco, Sam Burkett, Caitlin Cannon, Danny Dyer, Kayla Hall, Laura Henning, Afra Hines, Andrew Hodge, Logan Keslar, Sam Kiernan, Julia Krohn, Alissa LaVergne, Robin Masella, Patrick O'Neill, Chuck Ragsdale, Buddy Reeder, Michaeljon Slinger, and Borris York all deserve kudos for their splendid work with their numerous roles, quick changes, frenetic dances, and sensational sight gags. A majority of the visual humor of SPAMALOT is all thanks to their impressive talents and dedication to the show.

Set Design by Tim Hatley with modifications by James Kronzer is incredible. The sets being used by TUTS come from the successful Second National Tour which closed on April 14, 2013 at Washington D.C.'s The National Theatre. The pieces fit well into the large performance space. Likewise, all of the modifications blend seamlessly into the original design. Moreover, the complicated design ensures that all of the many pieces move together for fluid and quick transitions, creating a fascinating display of theatrical magic all on their own.

Richard Winkler's Lighting Design is a masterpiece in proficiency and color usage. With around 500 instruments in use, his complex design creates gorgeous tones to enhance mood all while immaculately focusing audience attention.

Elaine McCarthy's Projection Design looks great in the venue and fits the space well. For example, the special effect projections used for the grail in "Find Your Grail" are alluring and beautifully rendered and the projections that tell us Act II is ready to start are amusing and fun.

Costume Design by Tim Hatley is inspired and striking. A majority of the costumes on stage also come from the Second National Tour, however, as this cast is larger than that company and even larger than the Broadway company additional costumes are used. There are over 200 costumes and innumerous wigs that cross the stage during the production, and each one is vividly designed to convey character, pop with color, and look stunning. It also must be noted that the impeccable use of theatrical magic for The Black Knight is drolly riveting and gratifying.

Christopher "Kit" Bond's Sound Design expertly mixes the vocals, orchestra, and spoken dialogue. The only time I missed a line was because I was still laughing at the last bit.

Theatre Under the Stars' locally produced production of Monty Python's SPAMALOT genuinely re-envisions the show with zealous genius and a fresh set of eyes. I never thought it would be possible, but this creative team, cast, and crew have created a production that is significantly more enjoyable and much funnier than the Broadway production. If you loved the tour or the show on Broadway, you'll be blown away by this production. This rollicking production of SPAMALOT is hilarious, exuberant, charming, and most importantly a ton of fun.

TUTS' capricious production of SPAMALOT runs through May 26, 2013 at the Sarofim Hall at the Hobby Center for the Performing Arts, 800 Bagby Street, Houston. For more information and tickets, please visit http://www.tuts.com or call (713) 558 - 8887.

Photos by Bruce Bennett. Courtesy of Theatre Under the Stars.

Adam Monley (Dennis Galahad) & Tom Hewitt (King Arthur).

Janine DiVita (The Lady of the Lake).

L to R: Jeremy Webb (Sir Robin), Jonathan Hammond (Sir Lancelot), Adam Monley (Sir Galahad), Kevin Covert (Sir Bevedere), Tom Hewitt (King Arthur), and Brian Sears (Patsy).

The French Taunters in TUTS' production of SPAMALOT.

Tom Hewitt (King Arthur) with The Knights of The Very Round Table in TUTS' production of SPAMALOT.

Brian Sears (Patsy) and Tom Hewitt (King Arthur).

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