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Show: Spamalot
Society: Battle Theatrical Society (BATTS) (formally Battle Light Opera
Venue: Battle Memorial Hall
Credits: Eric Idle and John Du Prez
Type: Independent (registered user)
Author: Paul Johnson
Performance Date: 25/10/2023
Spamalot
Paul Johnson | 29 Oct 2023 10:24am
REVIWED BY TERRENCE HATTEMORE
Photo: Simon Newbury Photography
Directed by Tara Buchanan, Musical Director Alex Hohenkerk,, Choreography Naomi Wareham.
The charms and humour of Monty Python have always evaded me despite recognising the originality and obvious delight it has brought to so many people for so long. My first introduction was thwarted as a small boy. Travelling circuses were my first introduction to `live` performances. We did not have a TV until I was six, despite having four cinemas in Aldershot, we never went until I was eight and discovered Saturday Morning Pictures which was such fun to go with friends for just 6d. It was therefore with anticipation and dismay I saw in the TV listings that at eleven O`clock on a school night, there was `Monty Python`s Flying Circus`. This show was new to me. An attempt to elicit sympathy from my dad with an “Oh no, why is it on so late?!” secured his attention and I was saying that a circus is usually on at teatime. My dad who loved television, declared “that`s not a circus—It`s a stupid thing”. I decided to pursue with maybe “it is about flying trapeze”, his retort being “honestly Terry it`s putrid”. Eventually, I did see it but was never enamoured, but that is the essence of humour, what some people sit in stony silence watching others `fall about`. I digress. Having remonstrated with myself about missing many local shows, I decided to regress my Facebook page back again to `First Nighters`. In a conversation with Ann Hohenkerk, we decided to attend the first night and it was a proud mother who took her seat next to me and an even prouder one who rose at the end but with Christopher Hohenkerk as Sir Bedevere & Concorde and Alex Hohenkerk as Musical Director that was likely.
I expected to have a pleasant evening out and indeed many of the local amateur theatre fraternity were in attendance. I remain an advocate for well written and produced theatre programmes as for me they can encapsulate the creation from an idea to perform a production through to the moment the lights dim. This one set the tone on page one `This is the lavishly hand-tooled, souvenir programme booklet type thingy` I would have liked to have had included the songs in the order they were performed in and by which characters.
I ate quite a lot of spam in my younger days but now it is time to eat a very portion of `humble Pie`. From the beginning to the end this was a great success. I have sat through musicals hoping upon hope as it was new to me it would join those that were perennial favourites, only to sink in my seat with the realisation that someone had decided to capitalise on a film or series, commission some songs and all would be well. This was the opposite of all that. Prior to the performance, Tara Buchanan addressed the audience and in a quietly defiant, brief speech declared that this show was being performed as it is and how it was written. This was met with sustained applause by the audience. It took generations to have the censorship restrictions lifted in the UK.
The great team of Director Tara Buchanan, Alex Hohenkerk and choreographer, Naomi Wareham together with the backstage team and committee have combined to produce a fabulous, hit show. It opened with excellent projections and credits which were, in themselves entertaining. There is no substitute for a `live` band of eight musicians. I was informed that the keyboards are programmed with additional `instruments` and this, is a skill in itself. The set built by the society was very effective and the lighting colourful . For those not familiar with this hall, the stage area is rather small, but BATS never allow this to restrict their ambitions. In a large cast, the space was utilised effectively throughout.
King Arthur, the knights of the round table and all the myths and stories have been wonderfully presented in many forms ad incarnations. When God decrees Arthur must find The Holy Grail, we are taken on a journey every bit as fantastical as you might imagine. This involves the horrors of the plague, corpses piled high on carts. Frenchmen with a tendency to `break wind` and use it as a weapon, long before cows were blamed for global warming. There are those cast as leading men and then there are those who lead a company from the front and this needed a creditable actor and singer and behold `King` Gareth Gaz Brighton perfectly created with his own physicality, a `nod` to received pronunciation, in clear speech, as befits a King a mellow voice and is a fine singer as well. It was imperative that Patsy, his man servant and irreplaceable companion, `sound effects man` (yes really) was an actor and singer of real ability. Enter David Fricker, who made such an impression at The Stables Theatre in `BLACK COMEDY`. They together are `Jeeves & Wooster` , Ant and Dec, only royalty and servant. As they `ride ` off an on with sound of hooves, poor Patsy has a barrage of props and items to carry supposedly to cover every eventuality. Gareth and David brought an on stage partnership to life before us, with a rapport of timing at every twist and turn. To add to this that oft overused song lifted from this Always Look On The Bright Side, could have been just `going through the motions but to out delight it was familiar, of course but performed with a freshness and there could not have been anyone who was not smiling or tapping their feet. In contrast a song I loved was `I am Alone` the King, in sombre and sad mood, well sung by Gareth. Poor Patsy who thought their relationship was more equal than it is or could ever be, brings real sadness to the awakening realisation and he is attempting to say what about me. I am here? When the King moves from self-absorption to acknowledging him, we see all the change of emotion from fading hope to tangible joy. The real and unexpected dynamic and strength of this production is the conviction in which all the cast, play their parts. A combination of talent and directorial advice probably. Too much these days is parodied in a less than clever manner by performers taking a rather `trying to be funny` approach.
I wonder, if as a generalisation, in amateur and professional shows/films we all have an affinity or otherwise for people as singers or actors. For me some people are perennial performers but are seemingly always the same somehow. Others and not necessarily disguised with make-up, they physically transform themselves vocally and in movement and posture either by training or natural instinct. I want to pay a real tribute to Seth Ringrose as Sir Robin. I remember him as a boy with Hastleons and I believe, Silver Lee and from memory I last saw him in the HASTLEONS production of FAME at the White Rock Theatre, where dance training and I suspect his other passion for basketball, he brought these elements together especially in a seemingly fearless leap. His slight figure and almost expressionless face, reminds me, at times, of Marcel Marceau the great mime artist. In his first appearance in a turret stage right, I did not recognise him at all. In this production he established his credentials. The character has continence problems. He sings, acts, both with a quiet confidence and presence. Another performer whose conviction brings everything to life. I believed in his performance because he did and it was a joy to hear his voice now, as a man.
Bob Murray, as expected as Dennis and Sir Galahad gave great performances, very expressive.
A man who seems to be in most shows now and deservedly so is Ben Hitchcock. Here as Sir Lancelot he really gets the chance to shine. Tall and creditable as a knight and to be legendary lover (later on).
In every entrance he is totally credible but none more so when he is stripped of his armour and we are treated to a pure `showbiz` sequence, his shaved head, less than manly clothing beneath the armour and with unashamed, in modern parlance ` booty` shaking , again it is no hold barred and is just so much fun.
Mention must be made of Rich Keeble showing versatility in playing six parts, yes, count them as diverse as The Historian to Herbert`s dad.
The BATS were lucky to have Helen Ward-Jackson join them for this show as LADY OF THE LAKE. Helen enhanced the show with her fine singing opening strongly with Come With Me and showing really humorous vocal ability in Whatever happened to my part?. This show is almost `one of a kind` but seemingly anything goes when she now with some venom and ego bemoans that she is in effect been dismissed.
I am listing the songs from another source. The absolute strength and total success of this show and this production is that every one was good, some exceptional but for me it is the fact that all the songs and sequences are well crafted and refreshingly the singing in this production was so thoroughly enjoyable and of a high standard, notable in the men`s ensembles when the voices blended. It is not easy to sustain voices when so much vocal `strangled` vocalisation in the acting and physicality in movement is needed.
My favourite song , already know to me has to be The Song That Goes Like This, lovely melody but very funny and her beautifully realised by Bob Murray and Helen Ward Jackson
In mentioning movement , all credit to Naomi Wareham who has succeeded in making the very most of the small area to fill it with colour and movement. It might seem unfair to single out any dancer but Luke Charlesworth was outstanding. His grace, poise and what I call `flow` really stood out.
Another factor contributing to this show was the wonderful costuming organised and dressed by Libby Grainger and Sophie Ringrose.
Great support from the whole company notably Henry Robertson Chris Hohenkerk, Gary Grinham, Rob Dyer, Paul Webb, Peter Elliott, Harry Gentry, Don Young, Kate Rolff, Lisa Gentry, Kate Dyer, Bethany Hill, Nancy Dyer, Molly Hill and Shannon Baverstock.