By Christy Hudson
There aren’t many theatre-going experiences quite like the Empress Theatre in Magna, with its distinctive layout. But its productions are fun and unique, and their current production of Spamalot is no different. Spamalot is based on the film Monty Python and the Holy Grail, both of which were written by Monty Python, with Spamalot’s music by John Du Prez and Eric Idle, and lyrics also by Idle.
Monty Python is a British comedy group that was started in 1969 (it is not, in fact, the name of one person who leads the comedy group, but it’s an understandable, common mistake). Its members consist of Eric Idle, John Cleese, Graham Chapman, Terry Gilliam, Terry Jones, and Michael Palin. Holy Grail is probably their most popular work, but their controversial film Life of Brian contains a song that is also featured in Spamalot.
I guess you would say that the plot is about King Arthur and his Knights of the Round Table going on a search for the Holy Grail. I mean, that is basically what it is about, but not a lot of the runtime is given to their actual quest. Sure, it focuses on a lot of things they encounter while on that quest, but you probably don’t remember any of them from the legends of King Arthur. I saw this show with my brothers Mark and Ryan, who have seen the movie, and my sister-in-law Samantha, who has not. At intermission, when I asked Sam what she thought if it so far, she said, “If they wanted to make a play that made no sense, they did it!”
King Arthur is played by Tyler Nelson. Nelson’s performance is good, and he has a nice voice. There were just a few times that his energy lacked a little bit, compared to some of his castmates. I think that throughout the run of performances, that will probably improve.
Scott Ricks plays Patsy, King Arthur’s lacky. If you’ve seen the film, Patsy is the one with the coconuts, and is one of the funniest running jokes. Ricks’ delivery is deeply entertaining. His great expressions and reactions make his performance a lot of fun to watch.
Alyssa Powers plays The Lady of the Lake. She has a lot of big musical numbers throughout, but she handles them incredibly well because she is able to belt the songs with strength and skill. The character has a lot of personality, and Powers fills the stage with it, taking the spotlight every time.
The Knights of the Round Table (who dance whene’re they’re able) have distinct personalities that contribute a lot to the comedy of the show. Darian Eastman plays Sir Lancelot, Matthew Black plays Sir Galahad/Dennis/the Black Knight (“It’s just a flesh wound”), Milo Marsden plays Sir Bedevere, and Tanner Larsen plays Sir Robin. Each gets their own moments to shine alone, and then when they come together, they have some hilarious dialogue. Larsen especially does a lot of funny things, both when he’s saying lines or just reacting in the background. He jumps into a lot of people’s arms Scooby-Doo-style, and he has good comedic timing and delivery.
The ensemble does a lot for this show. Each member also plays at least one character, whether it’s Not Dead Fred, Tim the Enchanter, or a Knight of Ni. One who I am sure will stand out in anyone’s mind is Herbert, played by Logan Tobias. He’s the funny, frivolous, flaunty prince in need of rescuing from being forced to marry a girl he does not love. Tobias is definitely a scene-stealer. When you go see the show, you’ll understand exactly what I mean. Another member of the ensemble who stood out to me is Michelle Gardner. It does not necessarily have to do with any of the characters she plays. She just has a strong stage presence and is very expressive, so whether she’s a French guard or dancing nun, she makes an impression.
There is a wide variety of costumes used in this show, not all of which you would expect to see in a play about King Arthur. Costume Designer Angel Nelson definitely had to use some creative ideas when compiling the many costumes worn by the actors. A variety of musical genres is explored from song to song. I mean, who would have thought to put knights and cheerleaders together in the same show? But Nelson stepped up to the challenge and included a lot of clever designs to make their production unique. Choreographer Wendy Brown also has a lot of different styles of songs to work with (let’s just say, if you’re confused during the opening number, don’t worry, you’re not alone). But the dancing is just fun, with some humorous highlights, such as the duet between the monk and the nun.
The set, designed by Gaylon Murdock, is fairly simple, with a Medieval backdrop on one wall, and the upper level turned into a castle wall. Murdock used the upper level in several ways, one of the best being at the end of the first act, when King Arthur and his knights encounter the French guards. Sound Designer Anthony Swanson and Technical Designer Tanner Lindsay also add to each scene, with mood lighting for the dramatic songs, such as “The Song That Goes Like This.” And there are many great sound effects and cues used, even when you think they don’t make sense, or maybe when the actors think they don’t make sense. It helps the silliness of the show.
One thing I love about shows is when something goes wrong, even just a little thing, and the actors are able to play around it and smooth it over. Director Celeste Porter got her cast good to go for sure. For example, King Arthur faced off against the Black Knife and “nearly” cut his arm off. It took a little improvising, but it just made the scene even funnier, especially since that is one of the scenes people are already familiar with. One thing I thought would make an improvement would be during the number “Always Look on the Bright Side of Life,” in which everyone is supposed to whistle repeatedly. I mean, they whistled, some better than others. It’s not easy; I’ve tried to whistle it, but I’m not proficient enough. I thought they could maybe use some extra help added, perhaps with a recording or something, so the notes and melody can be heard. Or even ask us in the audience. I mean, we all know it.
The Empress Theatre’s Spamalot is silly, ridiculous, a little crude, but completely fun. If you are a fan of the film, you will likely enjoy this show. If you like nonsensical humor, you will also likely enjoy this show. One of the reasons I wanted to see it with my brothers is because I know that they happen to love those things, and they laughed out loud. The Empress uses their unique theatre to their advantage in their productions, creating an unorthodox, interesting experience for audience members. Their production of Monty Python’s Spamalot is such an absurd, random musical fits right in there, and it’s simply fun.
The Empress Theatre Presents Monty Python’s Spamalot, Book by Monty Python, Music by Jason Howland, Lyrics by Mindi Dickstein
The Empress Theatre, 9104 W 2700 S, Magna, UT 84044
January 18-February 2, 2019, 7:30 PM, 2:00 PM matinee January 26
Tickets: $10-12
Contact: 801-347-7373, empress@empresstheatre.com
The Empress Theatre Facebook Page
Monty Python’s Spamalot Facebook Event
Set design & construction was done by Gaylon Murdock
We’ll change that. Thanks! ~FRR