Spamalot (Peterbrook Players)
Definitely at the height of popularity for amateur societies is Eric Idle’s creation from the annals of Monty Python, the strange but, oh so entertaining Spamalot and this production from Peterbrook Players at the Solihull Core Theatre is one to be reckoned with and marvelled at by audiences.
In a reverse of my normal review style let’s talk about the extensive supporting cast who all add something to the overall performance, not least of all a team of polished dancers under the expert choreographic direction of Suzanne Ballard-Yates. It’s very easy to fill a stage with chorus members who add little to the central action but, in this case there is a part to play for everybody and it all leads to a richer performance experience thanks to Richard Agg’s accomplished direction.
Andrew Alton’s fortitudinous King Arthur and Gregory March’s comically downtrodden Patsy provide the central core around which this bizarre story is woven.
Assembled around Arthur’s ‘very, very, very round table’ are an array of bafflingly odd knights played with innate comic timing by, Thom Stafford as a delightfully self-obsessed Sir Galahad, James Gough as the surprisingly ‘gay’ Sir Lancelot, a whimsical portrayal of Sir Bedevere (inventor of the ‘grand lapin en bois’ or ‘large wooden rabbit’) by Michael Greene and the performance of the night by Michael Bentley as the far from brave but, theatrically talented Sir Robin.
Flying the sole female principal flag is Penelope Simpkins as Guinevere the Lady of the Lake and what a voice, her rendition of ‘Whatever Happened to My Part’ will remain fondly in my memory for some time to come.
Other parts that grabbed my attention would be the sublimely effeminate Prince Herbert, played by Richard Perks, his father, gloriously loud and agitated by Darren Foster, Victoria Wharton as the completely obtuse Swamp Castle Guard and some terrific ‘French Taunting’ by James Gough in a secondary yet vital role.
Music from MD Jonathan Clarke and his assembled instrumental talent is ‘par excellence’ and like the dancers they add significantly to the overall presentation of what is a captivating piece of entertainment.
Only a small number of performances remain as the run finishes on Saturday 14th April so grab any remaining tickets while you can and before the knights who say ‘ni’ confront you.
Book Here
In a reverse of my normal review style let’s talk about the extensive supporting cast who all add something to the overall performance, not least of all a team of polished dancers under the expert choreographic direction of Suzanne Ballard-Yates. It’s very easy to fill a stage with chorus members who add little to the central action but, in this case there is a part to play for everybody and it all leads to a richer performance experience thanks to Richard Agg’s accomplished direction.
Andrew Alton’s fortitudinous King Arthur and Gregory March’s comically downtrodden Patsy provide the central core around which this bizarre story is woven.
Assembled around Arthur’s ‘very, very, very round table’ are an array of bafflingly odd knights played with innate comic timing by, Thom Stafford as a delightfully self-obsessed Sir Galahad, James Gough as the surprisingly ‘gay’ Sir Lancelot, a whimsical portrayal of Sir Bedevere (inventor of the ‘grand lapin en bois’ or ‘large wooden rabbit’) by Michael Greene and the performance of the night by Michael Bentley as the far from brave but, theatrically talented Sir Robin.
Flying the sole female principal flag is Penelope Simpkins as Guinevere the Lady of the Lake and what a voice, her rendition of ‘Whatever Happened to My Part’ will remain fondly in my memory for some time to come.
Other parts that grabbed my attention would be the sublimely effeminate Prince Herbert, played by Richard Perks, his father, gloriously loud and agitated by Darren Foster, Victoria Wharton as the completely obtuse Swamp Castle Guard and some terrific ‘French Taunting’ by James Gough in a secondary yet vital role.
Music from MD Jonathan Clarke and his assembled instrumental talent is ‘par excellence’ and like the dancers they add significantly to the overall presentation of what is a captivating piece of entertainment.
Only a small number of performances remain as the run finishes on Saturday 14th April so grab any remaining tickets while you can and before the knights who say ‘ni’ confront you.
Book Here
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