Reviewing Theatre For Over 40 Years
Tag Archives: Casey Nicholaw
There are many different slants on what makes a Broadway musical worth seeing. In some cases, the focus is on message or depth of story line. In others it may be the music itself, or the choreography, or the star performing in it. In rare cases there is a moment of particular spectacle which cannot be duplicated in any other art form, and which proves so completely theatrical the entire production is put on pause until the roar of applause subsides.
Which is why, if you love musicals, you will do yourself a treat to take in Wayne and Karey Kirkpatrick’s “Something Rotten,” now at the Ahmanson Theatre in Los Angeles. Wry, silly and satirical, it includes one of the most complete show-stoppers in recent memory: “A Musical” is almost indescribably silly, paying homage to virtually every possible style, form, or substance of Broadway musical from the past 70 years or more, all in six minutes. It is not to be missed.
Not only this, but the show starts with another number nearly as clever, and adds a third rollicking one toward its close.
A send-up of musicals, Shakespeare, vapid writing, and ever so many other things, “Something Rotten” welcomes you to the Renaissance England. There The Bard is literally a rock star, and Nick Bottom is trying to find a niche for himself and his brother Nigel as a duo of playwright and director before their patron pulls his financial backing.
Desperate, he goes to a rather scattered sooth sayer to find out what Shakespeare’s next great hit will be, so he can steal it. Armed with an imperfect answer, Nick embarks on “Omelet the Musical”. The results prove just as bad as that sounds, while Shakespeare sneaks in to steal the best lines for himself. But the story isn’t the point, which is good because it gets rather uneven by the end. Rather, the constant use of Shakespearean dialogue in non sequitur ways, the many references to the Broadway musicals (some of them delightfully subtle) and the constantly raging subtexts are the real focus.
Among a list of characters almost entirely sharing names with the rough peasants in “A Midsummer Night’s Dream,” or the protagonists of “The Merchant of Venice,” Rob Mcclure is the brashly ambitious Nick, played to the hilt as a man of rather hopeless ambition. Josh Grisetti gives the meek, poetic brother Nigel an innocent charm which plays well against the brash Nick.
As his love interest Portia, the rebellious daughter of a Puritan, Autumn Hurlbert matches Nigel’s earnest love of words and general niceness in ways which balance the crazy silliness of brother Nick’s storyline. As Nick’s practical wife Bea, Maggie Lakis delights, spending much of her time being a woman who dons men’s clothing (a regular Shakespearean trope) to work at jobs which support her husband’s dreams, later doing so again to save him in more direct ways. Nick Rashad Burroughs gives the occasional narrator, a minstrel, a compelling presence from the first curtain-rise.
Still, it is beyond these central characters that the true charm of this show appears. Blake Hammond proves a hoot as the somewhat iffy prognosticator, Nostradamus. Scott Cote, as Portia’s Puritan preacher father, makes subtle (and not so subtle) statements about the hypocrisy of many a religious fanatic, all with body language. Yet all these pale next to Adam Pascal’s Shakespeare, in leather jacket and bling, providing the slippery, stagey Elvis-like icon cashing in on presence.
Director-choreographer Casey Nicholaw is the reason all this works so well. So much of the comedy is physical, and so much of the pacing is critical, that his direction is key to the success of the entire venture. In this he is aided by Gregg Barnes costumes, which emphasize the more unique aspects of Elizabethan era clothing, and Scott Pask’s layered quick-changing set.
Truth be told, “Something Rotten” is not a perfect musical, but it is often very entertaining, ranging from snicker-amusing to full-guffaw funny. And those ridiculously delicious spectacular numbers are worth it all. We could all use a laugh in these tough times. Anyone who loves the Broadway musical art form will find a lot to laugh at. Go see.
There is a reason that the clowns are the finest athletes in the circus: you have to be very, very good at something to do it “badly” and not get seriously hurt. By the same token, anyone creating a satirical version of an art form must be excellent at that art form in order for the humor to work. Otherwise, it just looks awkward and amateurish rather than snarky and funny.
Which is why it is delightful to be able to say that the new production of “Monty Python’s Spamalot” at the Candlelight Pavilion in Claremont has the absolutely necessary combination of crisp production, talented performers and unified wit needed to pull this thing off. One bad performance, or unintentional awkward transition, and much of what makes this show so very funny would be lost.
“Spamalot” is, of course, Python member Eric Idle’s reworking of the absolutely classic satiric film, “Monty Python and the Holy Grail,” which made fun of every possible aspect of the genre of medieval romantic stories and movies. Set to music by Idle and John Du Prez, it sets tongue firmly in cheek, and gets sillier and sillier as the evening progresses. That is, it does if the show lives up to its potential. Here it does.
The tale starts out as a silly version of King Arthur and the search for the Holy Grail. It takes any number of side trips, reworks Arthurian characters with abandon, and makes almost no sense, but then it isn’t intended to.
In a comparatively small cast called upon, in most cases, to play a number of parts throughout the evening, there are several standout performances. Chelsea Emma Franko sings beautifully and carries the integral part of The Lady of the Lake with style and wit. Just such a performance is necessary to keep this thing moving. Raymond Ingram makes a solid King Arthur, and Adam Trent has a ball as his servant (complete with traditional coconuts).
Emerson Boatwright is the perfect, geeky historian, and a delightful Prince Herbert. Matt Dallal gives Sir Robin the properly milquetoast attitude. Jotape Lockwood’s dim Sir Lancelot, Bryan Vickery’s solid Sir Galahad, and Robert Hoyt in several parts but particularly Galahad’s mother all work well together. Indeed, the ensemble quality of this makes it all work, as the rest of the ensemble who back up these major players helps to prove.
The only major thing which could use fixing is the occasional bit of diction, especially when, as Lockwood must at one point, one must speak in an accent. The lines in this show are its best feature, so understanding what you hear is a must.
Director Chuck Ketter has just the right touch regarding both the pacing and the ridiculousness. Janet Renslow’s recreation of Casey Nicholaw’s original choreography, adapted for the smaller Candlelight stage, keeps the whole thing lively and showcases the multiple talents of the cast.
As was true of the original film, there are somewhat scatological jokes of one kind and another. One might want to rethink bringing small children, or the kind of adults who would be disquieted by Monty Python’s sometimes colorful humor. Still, I admit to taking my own kids, when younger, to see the film. My son even had a shirt with the French taunts on it which he was sad to grow out of.
Candlelight’s “Spamalot” is just plain fun. That it comes with a pretty nice dinner is just an added plus. Go and have fun. That’s what this show is all about, after all.
What: “Monty Python’s Spamalot” When: Through October 19, open for dinner at 6 p.m. Thursdays through Saturdays, 5 p.m. Sundays, and 11 a.m. for Saturday and Sunday matinees Where: Candlelight Pavilion Dinner Theater, 455 W. Foothill Blvd. in Claremont How Much: $53 – $68, meal inclusive/ $25 for children 12 and under