This Saturday, I was able to attend the opening night of Monty Python’s Spamalot at the Atheneum Theatre in Melbourne.
The production advertises itself as “a new musical lovingly ripped off from the motion picture Monty Python and the Holy Grail” and the atmosphere inside the theatre stayed true to this sentiment, with audience members being welcomed in to lively music and clips from the original Monty Python films. Once everyone was seated, the audience was treated to a lively animated opening credits sequence, introducing the cast and setting the tone for the rest of the evening.
For myself, and for many other Australian acting fanatics, one of the major draws of this production of Spamalot, is the opportunity to see Stephen Curry in the lead role of King Arthur. Curry is one of Australia’s most beloved character actors, who many will recognise from his role as Dale Kerrigan in The Castle, and he steps into the role of King Arthur with the grace and expertise expected of him. He truly embraced the chaos and tongue in cheek humour that flows through Spamalot, giving it his own touch of comedic disdain and aloofness.
While Curry may be the biggest name on the call sheet, he is, by no means, the only star of the show. Flowers must also be given to (the aptly named) Jaz Flowers who played the featured role of the Lady Of The Lake. This self proclaimed diva showcased some powerhouse vocals and well executed comedic timing as well as a consistent stage presence that, alongside Curry, provided a grounding contrast amongst a cast of many changing characters.
Credit must also be given to the ensemble dancers, Grace Williams, Danielle Gibson, Jacinda Tsakalos, Emily Huynh, Will Basson and Ethan Churchill, captained by Dominique Hamilton and choreographed by Suzi and Jamie Rolton. From tap to cancan, from showgirls to cheerleaders, these dancers embraced a variety of characters and styles to fill out the performance.
Monty Python’s Spamalot is a very specific brand of humour. It may have been opening night emotions, however the energy and enthusiasm showcased by the entire cast (and, in occasional moments, the crew) infected the whole audience. There were many laughs, cheers and occasional gasps throughout the entire show. The use of animated backdrops (sourced from Aquixel Studios) provided opportunities for fast paced jokes that would otherwise be impossible onstage and the show’s self awareness of its own limitations (smaller set pieces, no horses) turned those elements from shoddy to funny.
To book tickets to Monty Python’s Spamalot, please visit https://www.athenaeumtheatre.com.au/.
Photographer: Ben Fon
