Spamalot

[bellinghman]

We went to the Phill Jupitus-led production of Spamalot at the Corn Exchange last night. uitlander had secured us tickets J16-18, which meant pretty much in the middle of the second row, a point close enough to the stage that we could easily make out the badges the performers were wearing as their coats of arms (Jupitus was wearing the arms of Cambridge University, perhaps as a tribute to the venue).

A great show, based on the Monty Python and the Holy Grail story, but with certain meta aspects addressing the form of the musical itself, including the point where King Arthur has to stage a musical, and has to find a star to perform in it or it won't work. This does, of course, reflect the way that Jupitus is a known name in an otherwise pretty well unknown ensemble cast.

The first half was good, but I think it got even better for the second half. It was relatively short, finishing about two hours after it started (and there's a half hour for the interval), but the density of the comedy made it feel longer.

Overall, well recommended, even to those like me who would normally steer well clear of musicals.

Comments

[sparrowsion]

The original "You Can't Succeed&hellip" went down like a lead balloon in the West End. Different theatre culture—unless you know the Broadway roots, it plays from somewhere between flat-out unfunny to grossly offensive. So the requirement is now for a star, which allows some more-or-less topical pokes at celebrity culture.

[bellinghman.livejournal.com]

Ah, thanks. I was privately going "Errr ...?" to the Meerkat's comment.

Contrariwise, the whole French insulting the English bit is hysterical, even for us English. And I was impressed by the accuracy of the flying cow - it got Patsy straight on.

[lagilman]

oh dear. Did they change the point of the song? Because if so, a shame. It really was hysterical (and pokes not only at Broadway but Hollywood and the entire Myth of the Entertainment Industry overall.)

[lagilman]

It didn't go over as well in Chicago tryouts either, apparently. For those of us who know the history/culture of legit theater, though - yeah, hysterical.


Although, if you go to a Python-derived musical, I'm not sure "political correct" should be expected anywhere on the agenda....

[bellinghman.livejournal.com]

I think quite possibly the same audience - the West End is quite strongly focused on the American tourist market.

[bellinghman.livejournal.com]

On consideration (and interpolating muchly here), the problem may be that in British Theatre what in Broadway may be the place of the Jew appears to be held by the Gay.

With that aspect already covered by the Lancelot/Hubert scene, they had to look for something else.