MONTY PYTHON’S SPAMALOT Northern Light Theatre Company Shedley Theatre Until 27 Mar 2010 Review by Nikki Gaertner ‘Lovingly ripped off’ from the well-known film “Monty Python and the Holy Grail”, “Spamalot” could justbe a dream come true for fans of both Monty Python and musicals – and may also convert some whoare neither. With a script and score like this, containing catchy numbers with tongue-in-cheek lyrics and recreatingmany renowned scenes from the film, it is difficult to go very wrong with this musical. But Northern’srecreation is certainly a success, easily entertaining the opening night audience (complete with someobvious Monty Python fanatics present). For those not in the know, in a nutshell the show follows King Arthur (Nick Setchell) and his dedicatedlacky, Patsy (Michael Papps), as they travel the land, first in search of men to join the Knights of theRound Table, and later in their Quest for the Holy Grail. Papps is perfectly cast as the downtroddenPatsy, faithfully following his King and carrying his heavy load. His performance of “Always Look on theBright Side of Life” is particularly enjoyable. Alongside him, Setchell is appropriately regal anddistinguished as the golden King of Camelot. The Knights – Sir Robin (Jethro Pidd), Sir Lancelot (Steve Rudd), Sir Galahad (Jason Ferguson) and SirBedevere (Glenn Vallen) – are all successful in establishing their characters, sending them up and havinggreat fun with them, although Galahad’s dashing blond wig is sadly missing. Rudd’s performance withPrince Herbert (Omkar Nagesh) in “His Name is Lancelot”, is particularly amusing and well received.Nagesh should also be commended for his work across a number of contrasting roles in the show – fromthe Historian to Not Dead Fred, he donned many disguises, and did so very well! The only prominent female in the show, Megan Humphries, looks absolutely stunning as The Lady of theLake. Although her duet with Ferguson in Act I, “The Song That Goes Like This”, is a little hesitant andcould certainly be sent up more, Humphries progressively comes into her own, and in Act II, hits a homerun with “The Diva’s Lament”. MD Peter Johns’ orchestra is tight and the sound could almost be lifted directly from the cast recordingCD. The set is well designed and works nicely, and the lighting, designed by Ian Barge, particularlyenhances this production, with many varied and complex effects, executed well by Peter Howie. Awelcome return to Northern is costume designer, Ann Humphries, whose planning and eye for colourand detail are very apparent. An area for improvement, to add some final polish, would be the chorus. More projection and diction areneeded in ensemble numbers so the comical lyrics are not lost on those who don’t already know them.Focus on unison in group numbers would also help make Sue Pole’s choreography more effective. Director Mike Pole will be very happy with the end result of his hard work, and has ensured his castachieve the characterisation required and expected by Monty Python enthusiasts. As with all productionsof “Spamalot”, one can’t help but wish for the added layer of humour that is supplied by the originalBroadway cast simply for being themselves, but Northern’s production with their cast of well-knownlocals, is sure to be loved almost as much. Rating: 4.5 stars (out of 5)