Review by Kieran J. Evans & Anina-Marie Evans
Prepare for an uproarious journey at Twelfth Night Theatre as Monty Python’s Spamalot from Paterson Productions takes center stage, promising an irreverent, tongue-in-cheek, and no-holds-barred slapstick extravaganza infused with quintessential British humor. Familiar to fans of Monty Python, this production lovingly riffs on the source material but diverges by offering a distinct and defined happy ending—a delightful twist on the expected.
Under the impeccable direction of Shaun McCallum, alongside assistant director Jasmin Flynn, the production achieves perfection from its very inception to the final curtain call. Seamless transitions characterise the performance, ensuring minimal interruption to the onstage action. McCallum’s expertise shines through in the highly effective utilisation of levels and stage space, captivating the audience and maintaining engagement throughout the entire spectacle.
Julie Whiting, serving as the Musical Director, leads a fourteen-piece orchestra from the pit, orchestrating an absolutely flawless performance that impeccably complements the vocals onstage. The orchestra, under Whiting’s direction, adeptly supports every vocal nuance, enhancing the overall experience. Guided by Whiting’s expertise, the cast delivers exceptional vocal performances, showcasing a mastery that resonates throughout the production.
Maureen Bowra takes the helm as choreographer, with tap choreographer Cerys Downing lending her assistance, and their collaboration results in a truly standout choreographic masterpiece. Each moment within the show exudes high entertainment value, remaining consistently engaging and flawlessly executed. Bowra’s ingenuity and comedic flair shine vividly through her choreographic choices, infusing the production with creative brilliance. Downing’s exceptional tap choreography adds an additional layer to the movement spectacle.
(How they managed to get shoes to duplicate the sound of coconut halves is beyond me).
Under the guidance of Fight Coach Dean Maynard, the production’s fight choreography emerges as a flawlessly executed element, showcasing meticulous attention to authenticity and the safety of the cast members onstage.
Tom Dodds’ lighting design operates seamlessly, expertly supporting every moment of onstage action with minimal distraction. The lighting intricately weaves through the performance, accentuating key moments without stealing focus, ensuring a cohesive visual narrative that enhances the overall experience. Additionally, Tyson Hese’s sound operation runs smoothly and flawlessly, offering impeccable support to the onstage performances.
Patrick Oxley embodies King Arthur with a commanding stage presence, exuding a formidable aura coupled with an innate knack for impeccable comedic timing. His performance not only showcases strong vocals but also encapsulates the perfect balance of ineptitude and ignorance demanded by the character. Oxley masterfully navigates the nuances, delivering a portrayal that seamlessly intertwines the regal stature of a king with the comedic ineptitude necessary for the role, creating a captivating and multifaceted character portrayal.
