Reviewed by: Emma Parfitt

Spamalot is a show advertised to knock Broadway back by 1,000 years – and UMMTA sure delivered a knockout performance at Union Theatre as they transported us back to middle ages in spectacular fashion.

The musical, with book and lyrics by Python legend Eric Idle, is essentially a direct spoof of Monty Python and the Holy Grail. Directed by Nick Reynolds with Phoebe Doherty, we follow Arthur, King Of Britons (Tristan Bell) and his trusty yet lowly companion Patsy (Bodhi Keech) as they trot across the country, recruiting a troupe to come to Camelot and become the Knights of the Round Table. Wielding the Excalibur gifted to him by the Lady of the Lake (Mietta Kerger), Arthur brings Sir Galahad (Alice Voisey-Smith), Sir Lancelot (Jack Taylor), Sir Robin (Cleo Fawcett), Sir Bevedere (Zara Giacobello) and Sir Not-Appearing-In-This-Show (a stage crew cameo) on board as they encounter plague, much silly wordplay, a Laker Girls cheer squad, a heated debate about swallows, some French guards with accents rotating through everything but French, knights that say “Ni” and killer rabbits – all on their mission received from God to find the Holy Grail whilst creating a musical (that is as far away from Andrew Lloyd Webber as possible). 

Before the house lights even went down, the audience was introduced to the trademark absurdist Monty Python humour with a hilarious pre-show voice-over skit featuring Brian (as in Life Of). With the historian (Keerthi Shanggar) introducing the historical context of the show – mostly just plague – we were introduced to the use of projection (by Nathan Dinh) as a tool for not only communication, but humour, making use of both the tabs and a hanging white cloud. When the tabs opened, the audience was greeted by an incredibly striking castle that stretched across the stage. The set (designed by Julianna Neild) was outstanding, with the castle not only a majestic visual spectacle, but a functional set piece that moved to create other settings such as inside a prince’s Rapunzel-esque tower and an “expensive” forest.  The costumes (designed by Mireille Duckworth) were also the perfect combination of accurately medieval and cartoonish, with some highlights including the matching Knights of the Round Table outfits, King Arthur’s regal get-up, the Lady of the Lake’s stunning dresses (and headdresses) and Patsy’s impressive backpack. The lighting (designed by Adam Dean) worked in seamless partnership with the set and costumes throughout the show, and it was certainly something else to see the follow-spot being used to great effect as a comical device. The sound design (by Erik Havryluk) was also hilarious and well executed, featuring cartoon crashes and the disturbing sound of a bunny ripping a human to shreds. Most impressively, all these design elements came together and were used in creative ways to create a tapestry of over-the-top humour that Monty Python would be proud of – and this isn’t even to mention the performances.

The cast did not drop a comedic beat. Whilst the vocal and dance performances were incredibly strong across the board, what really stood out was the energy, expression and absurd physicality that each performer brought to the stage. Bell and Keech were a dynamic duo as Arthur and Patsy, with Bell’s (perhaps misguided) confidence and power contrasted with Patsy’s adorable innocence and quiet wisdom. The hilarious dynamics onstage only got better as the motley crew of the round table was introduced. Voisey-Smith was the ultimate try-hard cool guy as Sir Dennis Galahad, whilst Sir Lancelot’s violent nature was hilariously depicted by Taylor, who also brought a goofy side to the role. Sir Robin’s comical façade of bravery and musical obsession was nailed by Fawcett. Kerger delivered an exceptional performance as the Lady of the Lake. She elevated the character with huge energy and expression – not to mention her flawless vocals – making her a formidable presence onstage, and was the ultimate diva in “Whatever Happened To My Part”. Rupert Simmons’ Prince Herbert took us straight to a Disney movie, with a delightful twist where he and Lancelot fell in love complete with rainbow lighting, a fun use of the cyclorama. The farcical sequences of the show were also a hit, with the Knights that Say “Ni” (headed by Melissa Sanders) delivering a fast-paced and high-energy performance that led the audience to hysterics. On more than one occasion, the fourth wall came dramatically shattering down with actors in the stalls, audience interaction, songs about the show itself, and some very on-the-nose theatre references (look out Ben Platt and Rob Mills).

Throughout the show, the choreography (by Zara Sadhai with Sophie Hunter) was incredible. The space was used exceptionally, and the choreography met the absurd physical comedy of the characters, also pulling inspiration from iconic musicals to create the love letter to theatre that this show became. Another great strength was the band, directed by Olivia Sweeney, who nailed a rollicking score that traverses genres and styles.

Whether keenly awaiting Spamalot’s upcoming Broadway revival or just being intrigued by a Monty Python musical, UMMTA’s Spamalot exceeded expectations in every facet. The strong cast nailed the absurd humour, complemented by effective, striking and impressive production design, giving the impression of a well-considered and clear creative vision and overall creating a loving ode to both Monty Python and musical theatre. The audience was left humming, whistling and looking on the bright side of life.