One Eyed Man Productions and Hayes Theatre Company’s theatrical production of Monty Python’s Spamalot is an absolute riot of merriment, uproarious laughter and classic hijinks.
Spamalot is a stage retelling of Monty Python’s film “The Holy Grail”, the story of King Arthur and his Knights’ quest to retrieve the holy grail, acting in tandem as a collation of the best hits of their sketches. A show like this has the ability to remind one of how much they enjoy the sketches whilst also bringing fresh takes to old material.
Richard Carroll’s expert direction effectively utilises a small space and small ensemble cast to still give the effect of a large impressive spectacle. Combined with the wonderful choreography by 
Cameron Mitchell it develops a thriving energy on stage that immediately envelopes the whole audience as they are encouraged to interact in the performance. With Hayes Theatre’s new refurbishment leaving a slightly diminished stage area, the crew creatively works with what limited space they had to develop an exciting and unique staging that avoided any possible danger of being cramped or tight. The production design brilliantly incorporates elements of historical appropriate costuming as well as more contemporary and budget materials to create interesting and absurd props and set pieces that add to the absurd hilarity of the musical.
Throughout the performance, certain modern day references and jokes have been added, and while they may appear to conflict with the established writing of the play, they still work within the absurd world that is created on stage.
The cast of Spamalot has been shrunk down from a larger cast of over thirty, to a small ensemble of 8 players, all who controlled the stage with chemistry and presence, bouncing off one another in frantic playfulness as they thrive in front of the audience. Aaron Tsindos is charismatic as the brash Sir Lancelot, also performing the very famous French soldier scene which brought a spectacular reaction from the Audience. Marty Alix’s Sir Robin possesses a vibrant energy that lights up the stage when he takes the centre. Blake Appleqvist and Jane Watt as Sir Galahad and Sir Bedevere, along with Rob Johnson as Prince Hubert, all add to the strength of a powerful ensemble cast, each playing multiple characters and hitting every comedic beat perfectly and providing a stable foundation of characters and support. Cameron Cain’s regal King Arthur leads the cast with a grounded sense reality that drives the plot forward with both elegance and a cheeky wit. The stand out performance of the night indeed was Josie Lane as Lady of the Lake, who captivated the audience with every note.
Special mention must be made for Bishanyia Vincent as Patsy, who stole many of her, acting as a foil and companion to King Arthur. She performs spectacularly, sliding into the cast effortlessly, whilst also being a stand-in with only five days notice.
The play was nearly flawless apart from some minor sound mixing issues between the recorded music and the performer’s singing, but this was fixed quickly during the night, and is ultimately a simple technical issue that does not diminish the enjoyment of the musical.
One Eyed Man Productions, in association with the Hayes Theatre Company, have done a stellar job making Monty Python’s Spamalot an ideal night of comedic revelry for old Python fans and those unaware of the material, and promises to be a smashing night out at the theatre in Sydney, and continues to triumph at the Hayes Theatre through March and April.
Oliver Morassut, Theatre Now Sydney
