Review of SPAMALOT at Musicals at Richter

Dedicated to CJ Janis, who once “rode his horse” to the stage to play the peasant, and the star of tomorrow, Grace D.

DANBURY, CT - I always enjoy a production of MONTY PYTHON’S SPAMALOT, described as a not so “new musical lovingly ripped of from the motion picture ‘Monty Python and the Holy Grail.’” A wonderfully talented cast of mostly men bring this silly musical to life on the stage of Musicals at Richter, CT’s longest-running outdoor theatre. Even I find it hard to believe that SPAMALOT marks its 99th main stage musical productions and that the upcoming SHREK will be the 100th.

Eric Idle wrote the book and the clever lyrics and co-wrote the music with John Du Prez; a committee of Monty Python originals, whose names I almost remember, wrote the screenplay.

The heavily male MAR production was bravely directed by Shannon-Courtney Denihan (THE LARAMIE PROJECT at CTAW, INTO THE WOODS at Nonnewaug HS) with music direction by Tracey Marble (the Witch in INTO THE WOODS) and Claire Simard (ANNIE.) Eric Idle provides the Voice of God, but the rest of the actors are either community theatre veterans or the up and coming talent in area universities. Ms. Denihan mentioned to me during intermission that the cast members were either season performers or college-aged, with only one woman somewhere in the middle. This marks her directing debut at MAR and I found the choreography well-suited to the hilarity.

The comic maturity of the leads and the energy of the younger performers made for a mostly fast-paced performance. I laughed a lot, I sang along with the curtain call “Always Look on the Bright Side of Life,” and I was just a bit disappointed that I wasn’t sitting in seat A101 so that I could have played the peasant who finds the Holy Grail. I was genuinely happy for the young Mr. Simard who got his photograph taken with some of the cast; that is my story and I am sticking to it.

From the very silly “Fisch Schlapping Song” (I said “ENGLAND,” corrects the Historian,) to the cries of “I Am Not Dead Yet,” to the French Taunters doing their thing during “Run Away,” those of us that gambled the weather would hold (which it did!) laughed our way through the first act. In Act II, the “Very Expensive Forest” was featured in many scenes, the Lady of the Lake (Mary Cantoni) pulled a chair into the middle of the audience to make her entrance for “The Diva’s Lament, the killer rabbit did his stuff and of course there was the finale in the Holy Grail Wedding Chapel.

Those talented guys were led by the dashing Walter Cramer, the Dean of Students at WCSU, as King Arthur. Mike Armstrong was in the usual spot behind the king in the role of the coconut-shell-clapping Patsy. Mr. Armstrong also played the Mayor and was one of the guards of Herbert’s father. Tom Denihan (NEXT TO NORMAL, ONCE at the Warner, LARAMIE PROJECT) took on the roles of Lancelot, a Taunter, the Ni Knight and the not so scary Tim. He managed to pull off the frequent costume changes with aplomb and I laughed at the antics of every one of his characters.

I was so happy to see that Bob Filipowich (DAMN YANKEES, LA CAGE) traveled to Danbury to play the wonderful role of Sir Robin. No one else could have pulled off the mugging in “Brave Sir Robin” as well as he did, and he was a consummate song and dance man for “You Won’t Succeed on Broadway,” where I would submit Mr. Filipowich certainly belongs. It was easy to see which of the guards he played in the second act and he also covered the role of the hooded Brother Maynard.

Daniel Satter was the very tall young man that portrayed Sir Galahad, the very tough Black Knight, and the demanding father of Herbert. Rob Mayette (who reprises his roles from the TWO PLANKS production) was the gassy Sir Bedevere, a mother and Concorde. John Murphy did very well as the learned Historian, the Fred who is not yet dead, a minstrel, and Frenchie. Jacob Litt sang beautifully as Prince Herbert, a minstrel and a French Guard, and John Armstrong played Kevin the Carter and one of Robin’s minstrels.

And then , We change, The key
Now we're into E!
*hem* That's awfully high for me
But as everyone can see
We should have stayed in D
For this is our song that goes like this! - "The Song That Goes Like This"

Mary Cantoni (last seen at Richter 25 years ago as Aldonza in MAN OF LA MANCHA) was a fabulous Lady of the Lake on a stage where she was often the only woman, and I was glad that she was blessed with several costume changes (Gina Tonner was the costumer) and one was more special than the next. It was no surprise that she nailed “The Song That Goes Like This” and its reprise, as well as her subsequent lament in the second act about the disappearance of her part.

The members of the ensemble played Laker Girls, bodies, monks fisch schlapping dancers, dancing nights, show girls, knights, Ni Knights and minstrels. They included Robert Fontenelli, VIncent Fontenelli, Emma Lubbers (a 12th grade student with ten MAR performances,) Kevin McCarthy, Denise Milmerstadt (SWEENEY TODD,) Molly Robinson (a rising junior at Pomperaug HS,) Brenda Schoenfeld, and finally the fabulous Teah Renzi, who will play Donkey in SHREK in August!

Before the performers filed out the Richter House to the backstage area, I had the pleasure of speaking with community theatre vet Lana Peck about the amazing scenic painting she had accomplished in two days. She mentioned the help she had received from an uncredited friend, and I saw that the beautiful trees blended perfectly with the natural ones that frame the stage. Ms. Peck will be a part of VANYA AND SONIA AND MASHA AND SPIKE, opening July 12 at Theatreworks New Milford. The set was designed by Christian Peragrin and John McMahon and the former was also the technical director. RKE Productions, Inc. provided the light and sound equipment and they both worked well despite the outdoor challenges.

The orchestra, seated beneath a covering from any potential weather, were directed by Ms. Simard. Kate Luurtsema was on keyboard 2, Leo Lavalle provided the frequent trumpet flourishes, Jim Luurtsema was on trombone, and Bob Kogut was on drums. Joseph Ntale played reed 1 with Shire Feingold on reed 2, and Don Hurta played bass.

Here is how to survive a performance at this outdoor theatre (from someone who has been there, done that repeatedly.) Bring the bug spray with you, even if you apply it at home. Wear long pants and avoid open-toe footwear. Bring along a warmer jacket than you expect to need; bonus points if it has a hood you can wear to keep the flying insects out of your hair. (I brought mittens to this performance just in case, but didn’t need them.) Don’t forget a citronella candle and something to light it with, but avoid pouring the melted wax on the lawn. Bring along your favorite lawn chair and as much picnic food as you can carry. Some cash will come in handy if you want to visit the concessions stand during intermission. Use the bathroom before you leave the house if you don’t want to have to use the “Richter Relievers.” There is a golf cart that gratefully provides a lift to the box office before the show begins; say “yes” when it is offered to you.

SPAMALOT runs through July 13 at MAR.

Nancy Sasso Janis, writing theatre reviews since 2012 as a way to support local venues, posts well over 100 reviews each year. In 2016, her membership in the Connecticut Critics Circle began and her contributions of theatrical reviews, previews, and audition notices are posted not only in the Naugatuck Patch but also on the Patch sites closest to the venue. Follow the reviewer on her Facebook pages Nancy Sasso Janis: Theatre Reviewer and Connecticut Theatre Previews and on Twitter @nancysjanis417 Check out the NEW CCC Facebook page.

Click here to read about Naugatuck Patch Mayor Nancy Sasso Janis.