1/15/2024 0 Comments Holy grail intermission gif![]() This is a show not for the politically correct. His Not Dead Fred has a fearless physicality, as does his Minstrel, while his singing as the Minstrel and the effeminate Prince is clear and sweet. Cast members of ‘Spamalot.’ Photo by Alyssa Bouma.Īustin Heemstra shows a superb range of characterization, going through four distinct roles in the show. His “You Won’t Succeed on Broadway” is exuberant and fun. The potty humor runneth over with DJ Wojciehowski’s stinky turn as Sir Bevedere, the Strangely Flatulent. Fletcher-Jackson makes Sir Robin earnest and sprightly (and easily soiled, in an ongoing gag). His characterization is wide-eyed and ignorant, while he deftly finds all the physical comedy in the role. Baird provides solid support to the show with his distinct and steadfast servant to the King, Patsy. When he appears later in the show as Prince Herbert’s Father, he displays terrific comic timing with the two guards (Steven Baird and Fred Fletcher-Jackson). Goldberg (“The Song That Goes Like This”) finds him in good voice and he plays the comedy with nuance. Her singing is first rate in “Come With Me” and she plays delightfully with several musical stylings in “The Diva’s Lament.”ĭavid Merrill plays Sir Galahad with a light touch. Mooney deftly manages the dialects of his characters, including the Scottish Tim the Enchanter.Īlice Goldberg (The Lady of the Lake) gives a fine performance. He is devilishly sinister as The French Taunter, and finds all the right levels of Sir Lancelot: ignorant, fearless, uncomfortable with his latent homosexuality, accepting and embracing of same. ![]() Joshua Mooney tackles several roles with aplomb. This King Arthur is never completely frazzled his “I’m All Alone” is bittersweet and his duet with The Lady of the Lake “The Song That Goes Like This (Reprise)” is more cool than passionate. Ruben Vellecoop gives King Arthur a naive dignity and a compelling politeness that keeps the through line moving forward. Steve Przybylski assembles a crack seven-piece orchestra whose strength never overwhelms the fine singers and Ken Kimble’s conducting was crisp and playful. She manages the royalty with the King and his Knights, the glitzy with The Camelot Dancers/Laker Girls, the lowly with the peasants and guards, and the completely unnecessary with the entire company in a village of Finland, distinctively French (maids, mimes, and can-can girls), and slightly Yiddish. Linda Swann’s costume design gets all the right touches. Rikki Howie Lacewell’s choreography is simple and clever for the choral numbers, and effectively highlights several superb solo dancers (Nick Carter and Austin Heemstra). He is well-supported by strong work from the artistic staff. Debuting on Broadway in 2005, Eric Idle and John Du Prez’s Spamalot, which was “lovingly ripped off from the motion picture Monty Python and the Holy Grail” earned 14 Tony nominations and three wins, including Best Musical.ĭirector Jeffery Lesniak makes good use of the simple set and sets the right tone for the production exuberant and silly.
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