Review: Spamalot at Newcastle Theatre Royal

Jul 21 2010 by David Whetstone, The Journal

WELL, this was just what the doctor ordered, frankly. On a day spent nose-to-screen with storm clouds cocking a snook at summer, the Monty Python mantra “Always look on the bright side of life” had been pretty far from my mind.

And then I went to the theatre and the sun came out. A pretty daft looking sun, admittedly, with a picture of Eric Idle in the middle of it dressed as God, but two hours of glorious silliness put all of us (yes, the theatre was packed) back on track.

I grew up with Monty Python. They (along with Spike Milligan) were the soundtrack to my teenage years. I knew every word of The Big Red Book and saw The Holy Grail the day it opened. Sometimes I laughed so much I couldn’t breathe.

I know I wasn’t alone. All around me last night were Python fans itching to meet the ferociously demanding Knights who say “Ni” and those French soldiers whose elaborate offensiveness when confronted with an Englishman (particularly one wearing a crown) knows no bounds: “Your muzzer eez a hamsteur and your fazzer smells of.... elderberries.”

To which the upstanding English monarch’s famous reply is: “Run away! Run away!”

Basically this is Monty Python & The Holy Grail – a film made for less than £250,000 – adapted for the stage with choice bits from other enterprises chucked in. “Bright Side of Life” was from The Life of Brian and the Finland song – “a place where I’d quite like to be” – from a TV sketch, I believe.

Marcus Brigstocke is a perfect fit for the Graham Chapman role of King Arthur – tall, bearded, ever so slightly stupid and with God (or Eric Idle) on his side.

Then lots of other people fill in as peasants, pedants (often one and the same in Python land) and people who are required to be “not quite dead yet” or have their heads chewed off by a killer rabbit.

Todd Carty has the thankless role of Patsy, trotting around after the King clopping half coconuts. If none of the other jokes in Monty Python and the Holy Grail had worked at all, that alone would have made it a classic. And I understand it only came about because they couldn’t afford horses with that tiny budget.

“A new musical lovingly ripped off from Monty Python and the Holy Grail” is how co-writers Idle and John Du Prez describe Spamalot (named after another immortal line from the film) and that’s about right.

For this is a well crafted musical which scintillates in its own right.

That “watery tart” The Lady of the Lake becomes the requisite diva. Played by the fabulous Hayley Tamaddon, boasting surely the best pair of lungs of any past winner of TV’s Dancing On Ice, her job is simply to sing songs about the sort of songs that a show like this should have at this point.

An underlying dig at Andrew Lloyd Webber eventually becomes quite overt. Why be subtle when, like those Frenchmen, you can holler your insults to the rafters?

In describing the show as a triumph, I suppose three things come to mind: brightly coloured sets reminiscent of children’s TV; a script full of linguistic brilliance; and excellent performances from everyone.

A special mention for David Langham who may never make a romantic lead but whose Prince Bertie is right on the button.

There are some small elements of Monty Python that can seem a little uncomfortable now, even if the intention back in the late 60s and 70s was honourable.

The portrayal of homosexuality, although Chapman was gay, perhaps doesn’t quite chime with the times we live in although here it becomes a glorious celebration once rugged Sir Lancelot is outed. That said, this show is bang up with the best you’ll have seen at the Theatre Royal for a long time. Shame it’s only here for a week.