Review: American Stage in the Park Presents MONTY PYTHON'S SPAMALOT

I was the only sixth grader in Gemini Elementary who was obsessed with "Monty Python's Flying Circus" in 1974. While the other kids were watching "Kung Fu" and "The Six Million Dollar Man," my beloved British half-hour TV comedy (some of the sketches first shown on "The Dean Martin Comedy World," and then on PBS), captured my prodigiously warped 12-year-old sensibility. I couldn't pick a favorite moment: The cross-dressing lumberjack? The Upper Class Twit of the Year? Hell's Grannies? Nudge-Nudge? Crunchy Frog? Terry Gilliam's brilliantly bizarre animations? I would go to school and describe what I had seen to classmates who seemed unprepared for what some would later call "the Beatles of comedy."

Then came Monty Python and the Holy Grail, and although others soon jumped on the Python bandwagon, I still felt alone on my Python island. As the years went by, Monty Python and the Holy Grail was looked upon as a comedy classic, tied with the films Young Frankenstein, Blazing Saddles and National Lampoon's Animal House as the laugh-out-loud funniest movie of the 1970's.

In 2005, John Du Prez and Eric Idle's SPAMALOT, based on Monty Python and the Holy Grail and filled with hidden Python allusions and even a song from the movie Life of Brian, won the Tony Award for Best Musical. These days, my childhood cult fave has officially become mainstream. Although not nearly as funny as the film that inspired it, SPAMALOT still ranks as the fourth funniest musical ever put on stage. To put this in perspective, here is my official (albeit subjective) list of the eleven funniest musicals of all time:

1. A Funny Thing Happened on the Way to the Forum

2. The Producers

3. The Book of Mormom

4. MONTY PYTHON'S SPAMALOT

5. Avenue Q

6. How to Succeed in Business Without Really Trying

7. Urinetown

8. The 25th Annual Putnam County Spelling Bee

9. Little Shop of Horrors

10. Hairspray

11. City of Angels (if done right)

Following last year's successful American Stage in the Park offering of In the Heights, this year, the 31st year of this wondrous tradition, welcomes the hilarious Monty Python musical. Although not as naturally suited as In the Heights for an outdoor production, SPAMALOT still works well as an "in the park" happening.

Getting to St. Petersburg's Demens Landing wasn't easy. Parking was inconvenient (a Rowdies game and a Rays game were going on at the same time), and the show started a little late. But once there, I enjoyed some flank steak and a Pepsi, ready to re-live my Python-loving childhood. A party atmosphere ensued, which is perfect for this show. Several times the audience sang along with the songs Rocky Horror style, and when the Knights who Say "Ni!" actually said "Ni," many people in the audience kept shouting out "Ni!" as well. And they all joined in for a rollicking "Always Look on the Bright Side of Life."

The wind was so brisk that the two chairs in front of me blew away at one point, but thankfully we didn't get a springtime shower that would have halted the show. Which is a good thing because had SPAMALOT been rained out, we would have been denied three of the year's best performances that I am still giggling about. More about these three standouts later.

I don't know if American Stage's outdoor production of SPAMALOT would prove my list correct that this is the fourth funniest musical of all time, but it's sure filled with comedy gold (including a spot-on Trump joke). But the production seems rather messy at times, and some of the dances could use some tightening, but that doesn't really poorly affect a show like SPAMALOT. (If productions like 42nd Street or Anything Goes were deemed messy, then that would be more of a problem.) Here, slight messiness suits SPAMALOT just fine.

As the lead, King Arthur, Randall Delone Adkison is appropriately sturdy, stoic, but also a little bit stiff. He has a rich, commanding singing voice, and a powerful speaking voice, sounding a lot like John O'Hurley ("Seinfeld's" J. Peterman). He certainly looks the part and plays it well--a regal Bud Abbot circled by a zany world of Lou Costellos. I just wish he broke away from the stiltedness more often, such as his epiphany in "Always Look on the Bright Side of Life." As his henchman Patsy (the very talented and funny Brad DePlanche) sings this iconic song, the king is rather morose. But then Arthur is overcome by Patsy's message and begins singing and whistling the tune himself (with such wonderfully dark lyrics as "Always look on the bright side of death...just before you draw your terminal breath"); it should be a glorious moment. However, here, we never get to see what made the King choose to sing along. What in Patsy's lyrics made him see the light? We never get a glimpse, either by King Arthur's facial expressions or body language, at the reasons for his transition here.

Becca McCoy plays a fierce Lady of the Lake. Her rousing rendition of "Diva's Lament," her big belting number bemoaning that she doesn't have much to do in Act 2, deservedly received roaring applause. And she turned her playful jazz scatting in "Knights of the Round Table" into a thing of beauty. And when she's fuming, she lets it all out--her eyes bulge, her face reddens, and her booming voice causes the castle walls to shake. Note to self: Never make Becca McCoy angry.

J.J. Tiemeyer makes for a strong Sir Galahad, and his duet with McCoy on "The Song That Goes Like This," which takes a hilarious swipe at Broadway's pop power duets, is one of the most recognizable numbers from the show. The SPAMALOT cast play various roles, and each of them does a fine job: Wesley Slade, Dennis Clark (great mime!), Salvatore Vieira, Tony Pracek, Zachary Sutton, Kate O'Connell, Sarah Stoulil, Alexa Bouchard, Hannah Morgan, Erin Lowe and Ashley Whiting.

And now we come to the aforementioned three performers that stand out not just in this show, but in the entire season: Stephen M. Ray, Jr., Chris Crawford and especially Scott Daniel.

Stephen M. Ray, Jr.'s Lancelot, the macho but secretly gay knight of the round table, is so much fun. But Ray shines even brighter in his secondary parts...a taunting Frenchmen, an armless and legless Black Knight, and all the various small parts peppered throughout. Each one distinct, each one different and equally hilarious.

Chris Crawford must be looked on as a local savior of shows--he was vastly entertaining in freefall's The Buffalo Kings and he single-handedly made Peter and the Starcatcher a magical experience. His comic timing is always precise, perfect. In smaller roles throughout SPAMALOT, such as an elderly gent who sings "I Am Not Dead Yet," he is just delightful. But it's his effeminate Prince Herbert that turns out to be one of the funniest creations ever. All thoughts of Christian Borle, who played the part on Broadway, evaporated when Crawford was onstage, making this part his own. Is there no better compliment than suggesting that an actor actually out-Borles Christian Borle?

As dazzling as Ray and Crawford are, I am awarding the SPAMALOT MVP to the astonishing Scott Daniel. I have witnessed Mr. Daniel in various roles over the years, and he is always superb, but here, he gives one of his best performances (and maybe one the best local performances of recent years). Every role of his here is given an A+ treatment, especially his not-quite-brave Sir Robin in a wig that brings to mind June Allyson, Doris Day and Joan Davis. And his performance of "You Won't Succeed on Broadway" is the single best rendition that I have ever heard (yes, even better than David Hyde Pierce's Broadway turn). There is a joy that exudes from him every time he graces the stage, no matter the role, that needs to be experienced. It's a triumphant performance.

Director Jonathan Williams has guided his cast well. Alan Jay Corey's musical direction is tops, and the band quite strong: Thom Guthrie on keyboards, Dave Pate on reeds, Victor Mongillo on horns and Burt Rushing on the drums. Shain Stroff's choreography is creative, but as previously mentioned not as tight as desired. Jerid Fox's set is wonderful to look at, including a giant Trojan Rabbit and Gilliam-like clouds surrounding the stage. Markie Baiza's costumes are inspired, and Mike Wood's lighting is to die for. Wood has been missed in the Bay area (he only does a few local shows a year), and his work here shows you why, especially when the whole stage explodes in big, bright Vegas-like lighting. Just exquisite.

There were mic issues on the night I went, including once where the mic was left on and we heard a backstage voice talking. Again, in a show like SPAMALOT, this is not disastrous or even problematic. (I once directed a production of Cabaret, and the backstage mic was accidentally left on when our Kost screamed out some explicit word from the dressing room; it affects a serious show like Cabaret, but live mics did no harm here in Monty Python land.)

There's a lot to offer in this production. Had the entire show followed the hysterical excellence of Ray, Crawford and Daniel, then this would have been not just the finest SPAMALOT I have ever experienced (and I've seen several), but also one of the finest shows in a long time. But this SPAMALOT turns out to be nothing more than an entertaining, really fun trifle. And there's nothing wrong with that; I just wanted more...more rip-roaring lunacy that's more chaotic and robust. But enjoy the party atmosphere on Demens Landing. Go with friends and have a blast. And I'm sure this SPAMALOT will work even better with a bottle of wine and perhaps a can of Spam, all of which you can purchase at the concession stands.

American Stage in the Park's production of MONTY PYTHON'S SPAMALOT runs through May 8, 2016. For tickets, please call (727) 823-PLAY (7529) or visit americanstage.org.

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