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Monty Python's Spamalot

CATEGORY :
by Eric Idle and John Du Prez

COMPANY : Atlanta Broadway Series [WEBSITE]
VENUE : Cobb Energy Performing Arts Centre [WEBSITE]
ID# 3340

SHOWING : March 17, 2009 - March 22, 2009

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PRODUCTION DESCRIPTION

Darkness falls over Atlanta, as Broadway Across America presents the second coming of that dark existential drama, "Monty Python's Spamalot." Laugh as Peasant succumb to plague, knights lose their limbs in violent hand-to-hand combat, and French visitors void their lower gastrointenstinal tracts. Evil triumphs over good, and theatre goers leave the theatre under a dark cloud of despair. Unless they're from Finland. Richard Chamberlain plays Shogun King Arthur, and sends his Dr. Kildare image off on the wings of a thorn bird. This is the recap that ends like this.


CAST & CREW LIST
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REVIEWS

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Filthy English K-nigg-t's!
by Dedalus
Tuesday, March 24, 2009
4.5
Congratulations on receiving the Executive Version of this posting. A limited number of Better-Than-Average Subscribers have been personally chosen to receive this select edition. It is carefully delivered to your computer by your hand-picked ISP, and is translated into a language in which only you are fluent. It contains little or no offensive material, apart from four #%*%$’s, two *&^#$’s, and one F^%$-Bomb, and, since they have been transformed into cartoon swear-spell, you are safely past them now.

So, on to my review. It begins like this:

Cobb County. The 21st Century. A plague of Pythons has once again befallen our fell exurb, rendering the stage of the Cobb Energy Center asunder, as if trod upon by the feet of God.

High Dramedy? Low Comigy? If not one, then the other? Duh-oy!

Perhaps one review would go like this – I laughed, I cried, it was better than “Cats.”

Perhaps another review would go like this – I was appalled! How DARE they cut the role of Kenneth Clarke? How DARE they imply the presence of a two-soled rocket-propelled God? How DARE they impugn the great nation of Finland? How DARE they not include the Piranha Brothers and the Spamish Repetition? How DARE they Dare this?

But my review will go like this – Um. I don’t know. It didn’t suck.

Then, my review will digress into a series of philosophical, existential ponderings that give the pseudo-intellectualites among us fodder for cud. Just like this –

Did you know that God often loses kitchen cups?

Did you know that “Spamalot” requires over 80 people backstage and onstage to fly?

Did you know that six pounds of confetti are used at each performance?

Did you know that it takes 2600 pounds of hydraulic pressure to elevate the Lady of the Lake?

Did you know that even the poorest peasants wear costumes made of silken samite?

What, exactly, is a “Spam-a-Horn?”

What does that beggar do with his alms? (I suspect he goes backstage to lend a hand.)

This is where my review stops asking questions and starts talking about the cast.

I start with the former TV personality and raconteur Richard Chamberlain, who brings to the role of King Arthur a pseudo-British starchiness that is surprisingly relaxed and fun-loving (much more so than the starchly arch Captain Von Trapp I saw him assay a few decades ago). That he is ably matched by everyone, especially Ben Davis’ Dennis/Galahad, will, of course, remain not unsaid. If Merle Dandridge’s Lady left me wanting more excessant flamboyosity, she netherveless sings like a Diva, looks a Vision in beads and bosoms, and scats like an Ella Cat pursued by a “Shoo!” These folks are having fun, and, not to be modest about it, so was I.

This is the part of the review where I laboriously tie up any willing readers and subject them to some sort of denouement. It has to go somewhere.

So, in spite of neglecting some of the more obscure Pythonalia (by saying this, this review cites a previously stated comment in an obscure fashion that serves to add to my word-count), “Monty Python’s Spamalot” is now and always a welcome visitor to our fair exurb, a marvelous compendium of excess and silliesque digressions, a profound rumination on the Godlike Hubris of Theatrical Producers (and their Pseudo-Semitic Base), and a heart-felt homage to the glories of Finland.

And, now, for something completely different, this is the end of my review.

-- Brad Rudy (BKRudy@aol.com)

PS – Recipients of the Executive Version of this posting receive a postscript not included in the regular version.

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