Theater Review - 'Spamalot'

THEATER REVIEW- ‘Spamalot’ Produced by Star Playhouse – Suffolk Y JCC  - Reviewed by: Jeb Ladouceur 

‘SPAMALOT’ Based on the 1975 film, ‘Monty Python and the Holy Grail,’ the hit play ‘Spamalot’ is an irreverent takeoff on the legend of King Arthur and his knightly entourage as they embark on a riotous search for ‘The Grail.’ This show actually opened in Chicago in 2004, but overcame that stigma to go on and make it on the Great White Way. There it won a Tony for best Musical in 2005. 

It must be said that the music itself (bracingly delivered by Director Rob Fishman and his twelve-member orchestra) though appropriate for the comedic situations it supports, is entirely forgettable in terms of familiar lyricism. The lone near-exception is the toe-tapper ‘Always Look on the Bright Side of Life.’

But that’s not important. Sweet, touching, ballads such as those found in ‘The Sound of Music’ for instance, or historical productions like ‘Les Miserables,’ would have been entirely out of place in this rollicking farce. What ‘Spamalot’ has in spades, is a galloping series of rib-tickling one-liners and sight gags … and the musical score never gets in the way of the guffaws.

I will confess to being a sucker for Monty Python slapstick shtick. I love the silly rhymes, the double entendre, and most of all the straight-faced faux sincerity with which incredibly corny observations are impudently delivered … as when the recorded voice of God commands King Arthur and his, uh, ‘men,’ “Just find the Grail and get on with it; these people haven’t got all night!”

Solomon Buchman plays ‘King Arthur’ and pulls off the demanding assignment perfectly. One can easily imagine how the big guy must have once been an excellent ‘Harold Hill’ in ‘The Music Man.’ Buchman is ably assisted by Jennifer Barry (‘The Lady of the Lake’). She has an equally big voice and an even better flair for sometimes-naughty comedy—so important to this slightly profane show.

Director Michael McAuliffe has managed to mold his big cast (thirty performers!) into a vehicle that runs like a champ for two hours on all cylinders. Choreographer Leia DePalo has everyone hoofing, jumping, and spinning right on cue in their exquisite costumes designed by Maxine Katz, and the whole production is properly illuminated by Director McAuliffe (who doubles as Lighting Designer). Nor can Sound Technician Emma Palk be overlooked. In vaudevillian shows like this, where timing and coordination are vital, everyone from Set Designer (Bob Wildfeuer) to Stage Manager (Gene Indenbaum) must come through … and all do so commendably. Kudos! … all of you!

‘Spamalot’ runs thru Sunday, June 5 at what is arguably the best equipped theater on Long Island. For those who might not yet have visited the magnificent new building, The Star Playhouse at 74 Hauppauge Road in Commack is a facility that simply must be seen to be believed. The first time I walked into this massive venue, I harkened back to my initial exposure as a 12-year-old to Radio City Music Hall. No kidding. It’s that impressive.

Suggestion: Bring the kids … turn off the cell phones … and watch as Kassner, Strauss, Buckley, Katz and dozens of other gifted actors make you laugh you tushies off.

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Award-winning writer, Jeb Ladouceur is the author of eleven novels, and his theater and book reviews appear in several major L.I. publications. His newest book, THE GHOSTWRITERS, explores the bizarre relationship between the late Harper Lee and Truman Capote. It maintains that each actually wrote the other’s most famous work. Ladouceur’s revealing website is www.JebsBooks.com