The cast of the North American Tour of SPAMALOT. Photo by Matthew Murphy and Evan Zimmerman
“It’s big, but is it art?” ask the French after threatening to fart in the general direction of a bemused King Arthur (Major Attaway) in the North American tour of Spamalot, on now at Golden Gate Theater. Well, it has all of the beloved signifiers of classic Monty Python. The cast and crew are brilliant. We can and do look on the bright side of life. The dancers are flawless. Amanda Robles, as the Lady of the Lake, demands our focus and holds it tight until she deems it time to move on, and yet the show itself falls a little flat.
The cast of the North American Tour of SPAMALOT. Photo by Matthew Murphy and Evan Zimmerman
Perhaps it is the excessive use of video projections against a claustrophobic set of arched castle walls. Or that the show is so busy poking fun at and parodying Broadway that it forgets how truly funny Monty Python’s original content can be. It really is hard not to compare the two with the original film, which was low budget but had actors so committed to their roles, without a single fourth wall broken, that it remains deeply quotable 50 years onward.
In contrast, Spamalot is big and bold, but it loses that dedication to the bit. Parts of the show do genuinely gain laughs from the audience, most especially when Steven Telsey, who plays a number of roles that include Not Dead Fred, Prince Herbert (“I just want to sing”), and the fluffy, fanged Rabbit of Caerbannog, is anywhere near the stage. Sir Robin and his minstrels deserve a nod as they play out every inch of their time, noting the daring do of Brave Sir Robin. Leo Roberts as Sir Galahad, in his duet with the Lady of the Lake in “The Song That Goes Like This,” lands well. The entire cast is willing, able, and deeply talented.
The cast of the North American Tour of SPAMALOT. Photo by Matthew Murphy and Evan Zimmerman
Proclaimed a Broadway favorite since its beginnings over 15 years ago, there is certainly a lot to love about Spamalot which features a book & lyrics by Eric Idle and music by John Du Prez and Eric Idle. With such a deep well of talent to work with, the flatness of this production might be in part due to the direction of John Rhodes. The subtlety that fuels Python humor has been stripped away and given a dance number. Despite this, amid the sound of two coconut halves banging together, most certainly delivered by two European swallows carrying it together, or was it African, fart jokes, dance numbers, and a lot of fun at Andrew Lloyd Webber’s expense, you will laugh out loud.
Monty Python’s Spamalot runs through March 22 as part of the ATG San Francisco season at the Golden Gate Theatre. For tickets or more information, visit their website.
