By Alayna Een
The SCERA Center for the Arts (Orem, UT), with its elaborately patterned carpets, small stained-glass windows, and eclectic grandeur truly is the perfect place to stage the silly, sumptuous, and spectacular musical that is Spamalot. Spamalot is a 2005 musical adaptation of the cult classic Monty Python and the Holy Grail (1975). Created by the comic genius Eric Idle with music by John De Prez and Eric Idle, Spamalot was an instant, irreverent success, nominated for 14 Tony Awards and winning three. The SCERA opted to produce a toned-down but just as hilarious version that is more suited to younger audiences.
Loosely borrowing from the legend of King Arthur, Spamalot’s plot points include a few quests, some daring sword skirmishes, and (as every self-respecting comedy must) a wedding. But as you quickly come to understand, the plot is secondary to the comedy it presents. The play starts with a plague (a topic all too familiar to its mask-clad audience) and, after a quick pit-stop in fish-slapping Finland, introduces us to a cast of eccentric characters. The songs throughout the performance pay homage to a host of different musical theatre tropes, swinging swiftly through different genres and dropping references left, right, and “down center.”
The production is well-supported by the incredibly versatile ensemble (Beau Wilson, Mike Kim, Daniel Bentley, and Jackson Seaver) that excels at every role, from scholars discussing African swallows to deathbed-dancing peasants and from solemn monks to dashing knights and goofy guards. The Laker Girls (Kassie Hamilton, Kelli D. Smith, Nikole Higgins, Cordelia Diether, Erin Brown, Lydia Arnold) sing, dance, and spin with precision and some truly impressive high kicks.
In a comedy, you almost expect the cast to have to compromise—place comedy over vocal performance and delivery over dance. But that is absolutely absent from this cast; they can do it all. The “noble” knights of Camelot are brought to life by local talent. Jake Hart (Sir Robin / Maynard) is a triple threat: he can tap, dance, and soil his pants all with the endearing energy only a man whose holy grail is musical theatre can truly possess. Cameron Smith (Sir Galahad / Black Knight) sings his half of “The Song That Goes Like This” with tonal accuracy and great comic timing. He also captures the hilarious, unyielding character of the Black Knight. Kurt Elison (Sir Bedevere) carries on a family legacy of theatrical excellence with his roles, from shrill and gold-digging mother to deadpan and disengaged father, and is the last man not standing at the play’s end. Kyle Baugh (Sir Lancelot) displays incredible range in his three roles, from a less-than noble knight to a sharp-tongued and over-accented Frenchman to a horrid creature named Tim, and he steals the show in every one of them.
Keegan Briggs (Not Dead Fred / Concord) really “kills it” in his lively portrayal of Not Dead Fred and the sycophantic Concord. Evan Meigs (Historian / Prince Hubert) heroically battles an ill-fitting mustache without ever missing a line or breaking the moment and struts the line between awkwardly pitiable and hilarious in his portrayal of Prince Hubert. A.J. Nielsen (Patsy) is an excellent example of when life mimics art. This loveable nomad looks truly believable carrying the camping gear around, being constantly overlooked, and then bringing down the house with “Always Look on the Bright Side of Life.”
King Arthur is played by BJ Oldroyd. He makes Arthur larger than life and accepts the endless nonsense and silly side quests with comedic zeal. His songs are resonant and sincere while being largely farcical—a difficult balance. The Leading Lady of the Lake is masterfully managed by Allison Books. Her performance is absolutely incredible. She never misses a note, a joke, or a moment. Especially in “Whatever Happened to My Part?”, Brooks brings true star power to the stage, worthy of the near-goddess diva she portrays.
The stage talent in SCERA’s Spamalot is more than matched by its production crew, including Danielle Berry (Stage Manager), Christy Norton (Props Designer), Zippy Hellewell (Scene Shop Supervisor), and Chase Elison (Sound Designer ).I grew up in Las Vegas, but I don’t think I’ve ever seen this much sparkle is a show before. There are no chinks in the bedazzled chain mail, and Kelsey Seaver’s costuming helps the leads quite literally shine. The Ensemble swings into several different dance genres throughout the show, and thanks to the clever and impeccable choreography of Shawn Herrera, no one misses a step. The lighting in this musical, thanks to the design of Elizabeth Griffiths, is as bright, bawdy, and beautiful as the play itself and is a complement to each scene. Delayne Dayton (Music Director) rose magnificently to the daunting task that such a varied-genre music brings. And of course, the unparalleled director Michael Carrasco. He truly loves the source material—and you can tell.
Throughout this pandemic, I have sorely missed the sound of other people laughing. Sitting in the theatre and sharing jokes with strangers again just felt right, and I found it hard to know who was having more fun—the audience or the actors. The song “Always Look on the Bright Side of Life” tells us that “when life seems jolly rotten, there’s something you’ve forgotten. And that’s to laugh and smile and dance and sing.” SCERA’s Spamalot reminds us of those things and really shows us how they’re done.
SCERA Center for the Arts Presents Spamalot.
Book and Lyrics by Eric Idle, Music and Lyrics by Eric Idle and John Du Prez, adapted from Monte Python and the Holy Grail
The SCERA Center for the Arts, 745 S State St, Orem, UT 84058
April 9–May 8, 2021, 7:30 PM
Tickets: $14 Adults, $12 Seniors (65+)/Children (3–11), All Seats Reserved, Masks and social distancing required
SCERA Center for the Arts Facebook Page
Spamalot Facebook Event
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