The Catskill Chronicle

Review by J. A. Di Bello

FORESTBURGH, NY (July 17, 2013) – Without exploiting the psycho-social characteristics of the late sixties, Monty Python has theatrically demonstrated how logical nonsense and congruent irrationality are able to join a talented and energetic cast for the purpose of creating hilarious merriment. Take note, comedy, especially sketch comedy, whether in the guise of vaudeville or burlesque is not dead! It’s breathing and thriving on the stage of the Forestburgh Playhouse, where Monty Python’s “Spamalot” opened on Tuesday night to an enthusiastic and appreciative audience.

“Monty Python’s Spamalot” is a musical comedy sporadically based on the film “Monty Python and the Holy Grail.” The original musical production on Broadway was the recipient of three Tony Awards, including Best Musical, 2004-2005. The Arthurian legend acts as a catalyst, binding the various off-the-wall vignettes into a unified whole.

For an audience to accept the deliberate absurdities found in the production’s plot, a tone is quickly established in the opening scene of Act I, the “Fisch Schalapping Song.” The event is effectively staged; it is exaggerated and brilliantly brought to life by Charles Armstrong as the Mayor. To effectively prepare the audience for the extravagant and improbable events that follow, the scene is characterized by physical humor, i.e., fish slapping and confused communication. It’s well done and it works. The audience, initiated and primed is now ready to accept the surreal humor that follows.

The Lady of the Lake, muse to poor Arthur, is vividly brought to the stage by an alluring Jessica Wagner. As an attractive enchantress, her ability to sing efficiently in multiple registers and performance styles is especially evident in “The Diva’s Lament,” Act II. Further, and also worth noting, is her position as overseer of the cheerleaders, Laker Girls, as they encourage Arthur’s knights to pursue their legendary quest: the recovery of the Holy Grail.

Kevin Loreque delivers a regal and believable performance as King Arthur. His spirited strut, as if on horseback, is a source of wonder and amusement and surely a significant contribution of this production’s Choreographer, Emma Carpenter Martin. Also of interest is the fact that King Arthur has his own lament in Act II, the hilarious “I’m All Alone.” Kevin’s ability to convey King Arthur’s occasional bewilderment is credible and prompts one to wonder if the dear King once pranced about absent a required helmet.

Emma C. Martin’s return to the Miracle in the Forest as a multi-talented actor and now as the Choreographer is a welcomed addition to a theatrical cauldron already overflowing with talent. Expertly conceived and effectively delivered choreographed pieces standout in “You Won’t Succeed on Broadway.”

One of the most convincing and memorable characters on the Forestburgh Playhouse stage is the not so ballsy Sir Robin, faithfully portrayed by Tony Clements. His depiction of “Brave Sir Robin” in the sketch of the same name is legendary. With a not so surprising slapstick consequence, the minstrels deliver a vivid and detailed description of the gory demise a knight might experience on the battlefield. Combine those details with the sudden appearance of the Black Knight and a serious gastrointestinal crisis is at hand. The sketch, also known as the “Soiled His-Pants-Scene” is top-shelve vaudeville. This is Tony’s first summer at the Miracle and he’s a roaring sample of the talent assembled.

Especially noteworthy is the performance of Chris Nolan, as the gay Prince Herbert. The Prince is confined to quarters (a tower) by this dad. Quite inappropriately, the sum of Prince Herbert’s cravings is the opportunity to sing. His desires persist, until he is fatefully rescued by the fearless, gender conscious Sir Lancelot, who then discovers his more delicate side. Convincing and impressive as Lancelot is Michael Starr, a worthy Playhouse veteran.

Kevin Confoy, true to his professional nature, is hilarious as Dennis Galahad’s mom. And Dennis Galahad, portrayed by Russel Mernaugh beautifully delivers the transformation to a bold Knight of the Round Table.

Emphatic praises for the rah-rah Laker Girls in this Playhouse production cannot be too bold. They are On stage, Off stage, Sing, Dance, Cheer, Costume change, Costume change and then another Costume change. They are Chiara Trentalange, Nicole Teebagy, Cassidy Stoner, Gabriella Perez, Lauren Chapman and Emma C. Martin who interestingly is the same, awesome Emma Carpenter Martin mentioned above as the talented choreographer for this production. Not so incidentally, serious credit is due Gretchen Halle, the production’s Costume Designer.

Heaps of laurels are also due the dependable Director, Larry Smiglewski, who cleverly keeps events under control in his capacity as Stage Manager. And of course, what would a Playhouse musical be without Kevin Lawson, a talented and competent Musical Director and Conductor.

The season at the Forestburgh Playhouse is testament to the concept of a Miracle in the Forest. The assembled actors, musicians, designers and technical personnel are the causal agents responsible for the quality level and entertainment value of each production. Simply stated, “Monty Python’s Spamalot” works because of the artistry and professionalism of its stellar cast and crew. And as metaphorically noted, sketch comedy is “Not Yet Dead.”

“Monty Python’s Spamalot” is scheduled to play at the Forestburgh through July 28. Tickets may be secured by calling 845-794-1194 or visiting the Playhouse website at http://www.fbplayhouse.org/.