At final curtain, you will not leave Candlelight's SPAMALOT a better person. You will neither be taught a life lesson nor is there a moral imperative. The history you might recall from seeing Lerner & Loewe's CAMELOT is burst asunder. However, your heart muscle may be stronger due to the hijinks of this cast of [...]
At final curtain, you will not leave Candlelight's SPAMALOT a better person. You will neither be taught a life lesson nor is there a moral imperative. The history you might recall from seeing Lerner & Loewe's CAMELOT is burst asunder.
However, your heart muscle may be stronger due to the hijinks of this cast of merry mayhem makers.
Allegedly taken from Arthurian legend, the opening number takes place in (where else?) Finland ..with the townspeople slapping each other with fish. That….and the entirety of the show might seem illogical… but the writer of this tome is Eric Idle and his stream of conscientious comedic Kafka-esque cohorts from TV's MONTY PYTHON.
It would drive a writer crazy to attempt to explain the plot which has as many switchbacks as Pike's Peak or policy changes as Donald Trump. It is based' loosely' (in the Grand Canyon expanse of the term) on Arthur (Brian McCole) and his page Patsy (Brett Anderson) seeking The Holy Grail. McCole brings a quaint in headlights quality.
Lon Chaney was called the ‘man of 1000 faces'. Anderson, in McCole's tune “I Am All Alone” is the man of 1000 (pissed off) expressions.
I simply would suggest fastening your seatbelt and hanging on for dear life, especially in Act II.
Most of the actors play many roles, Dan Healy being one. His most endearing and heartwarming is that of Dennis Galahad's nurturing mama with the mammoth mammaries.
Galahad (Sam Nagel) has a great voice, dancibility and comic timing. Decked with the wonderful wigs by Lisa Miller Challenger and Clayton Stacey, he reminds one of Tiny Tim.
The Lady of the Lake (Tiffany Dawn Christopher) can belt like La Merman. Christopher pushes through the 4th wall and can work an audience.
The multi-talented and linguistically adroit Zachary Chiero has had major parts at Candlelight previously. The 3 roles he plays here are ‘breakout' in the mind of AISLE SAY, exhibiting his full spectrum of talent. He didn't miss a beat as the snidely and cynical French Taunter and sang and acted impressively in his numbers. His bio reads experience in the Philly Fringe Festival. I can see that!
We referenced CAMELOT earlier. One will never look at Sir Lancelot again in the same way after Ryan Ruggles' evisceration of that manly, romantic image. Ruggles takes historical ‘beefcake' and testicular fortitude in a whole new direction with his perfectly orchestrated costume malfunction; most certainly the marvelous surprise of the night. (My dear sister Liz jumped out of her chair).
The show was beautifully directed AND choreographed by Peter John Rios, who also did last year's Standing O hit, YOUNG FRANKENSTEIN. One of the major challenges of this show is the mind-numbing divergence of dance genres. Rios handed them expertly. An audience favorite was “You Won't Succeed On Broadway” led by the stellar Anthony Connell as Sir Robin. (But, when is Anthony NOT stellar?). It's appropriate that Sir Robin decides to pursue a career in musical theatre.
The one person AISLE SAY would not wished to have been is Costume Designer Timothy Cannon. Oh my oh my… the size of the cast, the number of changes and the too bizarre to imagine fashions; from Medieval, to Can Can, to Laker Girls,to The Village People. Huzzah to Mr. Cannon!
Max Redman, Chris Millison, the remainder of the ensemble AND the female dancers…ooh la la! Set by veteran Jeff Reim. Very creative Lighting Design by vet Mark Clapp and Music Direction by Caty Butler.
There was never a doubt in the collective mind of the audience that this cast was having the time of their lives. It's such a hoot playing a bunch of nitwits. I look forward to seeing SPAMALOT a second time.
Through Feb 28. 302.475.213 www.CandleLightTheatreDelaware.org