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Monty Python's Spamalot
a Musical
CATEGORY :
by Python (Monty) with Iric Idle and John du Prez

COMPANY : Theater of the Stars [WEBSITE]
VENUE : The Fabulous Fox [WEBSITE]
ID# 4045

SHOWING : June 03, 2011 - June 05, 2011

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PRODUCTION DESCRIPTION

Well, you see, there's this cup that God lost, and it's up to Arthur and his friends to find it. But, then, you knew that.


CAST & CREW LIST
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REVIEWS

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Return of the Filthy English K-nigg-ts
by Dedalus
Friday, June 24, 2011
4.0
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:

Atlanta. The 21st Century. A plague of Pythons has once again befallen our fell metropolis, rendering the stage of the Fabulous Fox asunder, as if trod upon by the feet of God. Thankfully, they will have fled by the time you read this. (A three-day tour? Must be a fateful trip!)

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 Spammish 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 may carp on the lower standards of this particular cast – no names in the name roles, a talk-sung “You won’t Succeed on Broadway,” a cheap-looking “Expensive Forest,” an abridged “Run Away,” a few too-many Fox-expected sound glitches.

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 six pounds of confetti are used at each performance?

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

Did you know that the real reason the Fox house lights are so dim is to keep us from reading the program writings of Kristi Casey Sanders and Kathy Janish? (It must be a plot, ladies! It hurts my brain!)

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 talks some more about the cast..

Most were blithely adequate in their roles, hitting a good(ish) percentage of laugh lines and a fair(ish) number of accurate musical notes, embracing the silliness with all the reserve of glitter-spangled boy dancers, mangling all the accents to imperfection, and generally having a good enough time to make it easy for a Python-holic to forgive the lapses that put this production a notch or two lower than the last couple of tours.

On the other hand, young Caroline Bowman, fresh off tours of “Fame” in China and “Grease” in Turkey (and there’s GOT to be a joke somewhere in that particular resume), brings to “The Lady of the Lake” an energy and skill that knocks this show a few notches higher than the rest of the cast deserves. She belts with the best (absolutely nailing “The Diva’s Lament”) and adds a spark of energy to the show every time she walks on stage. Of the three “Ladies” I’ve seen at this point, she is, by far, my favorite.

Finally, 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 end up 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 environs, a respite from the too-early-heat-wave that is obviously the product of a Liberal anti-Corporate America hoax, 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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