Diane L. Schirf
2005-01-24 00:41:58 UTC
On Friday, January 21, I was fortunate enough to see Monty Python's
Spamalot at the Shubert Theatre in Chicago (soon to be named the LaSalle
Bank Theatrean atrocity of corporate self-servicing).
Spamalot is the stage musical "lovingly ripped off from the motion
picture Monty Python and the Holy Grail." Some, not all, elements of the
movie are here, along with pieces from other Monty Python flicks and
sketches; they even manage to work in a group variation of the
fish-slapping dance. There's very little dialogue, just enough to sew
the various components and songs together into a semblance of a plot.
But who needs plot with such comedy and such performances?
The distinguished-looking Tim Curry, complete with infectious, devilish,
yet somehow vacuous grin, is wonderful and strangely sexy as Arthur,
trying to convince peasant collectives and rude French retainers that he
is King of the Britons. His knights of the Round Table, led by Hank
Azaria as Sir Lancelot and David Hyde Pierce as the not-so-brave Sir
Robin, as well as the supporting cast of singers and dancers, bring high
energy to this silly tale of masochistic monks, killer rabbits, a testy
God, and a "watery tart," the Lady of the Lake who gives Arthur his
authority (such as it is) through Excalibur.
Oddly for a show that was developed by and about an all-male troupe,
it's the luscious, voluptuous Sara Ramirez who's in the limelight as the
scantily clad Lady of the Lake and the peevish diva who, in a long and
hilarious number during the second act, informs us that she's been kept
backstage too long. Most of us agreed. She has a beautiful voice, able
to warble softly, to belt out, or to try out a number of styles,
including scat.
Of course, the plot is ostensibly about the quest for the Holy Grail.
Within this framework, there's room for silly and ironic humour about
everything from the flight speed of African swallows, George W. Bush,
farting and expectorating, gays, Broadway in Chicago, and even the
prominence of Jews on Broadway (even though it's acknowledged that's
1,000 years in the future in a country that hasn't been discovered).
The sets and the staging are brilliant, and even the signature foot
(along with a partner) makes an appearance. The most ingenious moment is
the re-creation from the film of the duel with the knight who just
doesn't know when to admit defeat.
Monty Python's Spamalot is filled with catchy tunes, solid dancing and
singing, colourful costumes and sets, barely covered female flesh, and
laughs. If you're a Monty Python fan or if you need to laugh long and
loud, this is the show to see.
Footnote: While I was waiting in line in the doorway of the women's room
during intermission, I heard a door open across the hallway from me and
turned around to find myself face to face with Eric Idle. I didn't say
anything, but the poor man was soon surrounded by a crowd. He's taller
than I realised, and a bit stooped. Just added a special moment to a
great evening.
Spamalot at the Shubert Theatre in Chicago (soon to be named the LaSalle
Bank Theatrean atrocity of corporate self-servicing).
Spamalot is the stage musical "lovingly ripped off from the motion
picture Monty Python and the Holy Grail." Some, not all, elements of the
movie are here, along with pieces from other Monty Python flicks and
sketches; they even manage to work in a group variation of the
fish-slapping dance. There's very little dialogue, just enough to sew
the various components and songs together into a semblance of a plot.
But who needs plot with such comedy and such performances?
The distinguished-looking Tim Curry, complete with infectious, devilish,
yet somehow vacuous grin, is wonderful and strangely sexy as Arthur,
trying to convince peasant collectives and rude French retainers that he
is King of the Britons. His knights of the Round Table, led by Hank
Azaria as Sir Lancelot and David Hyde Pierce as the not-so-brave Sir
Robin, as well as the supporting cast of singers and dancers, bring high
energy to this silly tale of masochistic monks, killer rabbits, a testy
God, and a "watery tart," the Lady of the Lake who gives Arthur his
authority (such as it is) through Excalibur.
Oddly for a show that was developed by and about an all-male troupe,
it's the luscious, voluptuous Sara Ramirez who's in the limelight as the
scantily clad Lady of the Lake and the peevish diva who, in a long and
hilarious number during the second act, informs us that she's been kept
backstage too long. Most of us agreed. She has a beautiful voice, able
to warble softly, to belt out, or to try out a number of styles,
including scat.
Of course, the plot is ostensibly about the quest for the Holy Grail.
Within this framework, there's room for silly and ironic humour about
everything from the flight speed of African swallows, George W. Bush,
farting and expectorating, gays, Broadway in Chicago, and even the
prominence of Jews on Broadway (even though it's acknowledged that's
1,000 years in the future in a country that hasn't been discovered).
The sets and the staging are brilliant, and even the signature foot
(along with a partner) makes an appearance. The most ingenious moment is
the re-creation from the film of the duel with the knight who just
doesn't know when to admit defeat.
Monty Python's Spamalot is filled with catchy tunes, solid dancing and
singing, colourful costumes and sets, barely covered female flesh, and
laughs. If you're a Monty Python fan or if you need to laugh long and
loud, this is the show to see.
Footnote: While I was waiting in line in the doorway of the women's room
during intermission, I heard a door open across the hallway from me and
turned around to find myself face to face with Eric Idle. I didn't say
anything, but the poor man was soon surrounded by a crowd. He's taller
than I realised, and a bit stooped. Just added a special moment to a
great evening.
--
http://www.slywy.com/
http://www.slywy.com/