L.A. Review: 'Monty Python's Spamalot'

Putting Broadway heavy hitter Davis Gaines in the lead role of a lightweight musical such as "Spamalot" might seem to be overkill, or a ridiculous underuse of talent, to theater fans. But this is Gaines' third appearance for Musical Theatre West in just under two years, the others being the spotlighted cameo role of Richard Henry Lee in "1776" in July 2010 and, earlier this year, the lead in "Man of La Mancha." Playing the Monty Python spoof version of King Arthur, then, is like a farcical mixture of those two roles.

The talent for lighthearted comedy Gaines tapped as Lee is even more in evidence here; as Arthur, King of the Britons, the actor riffs on the likes of not just Robert Goulet but all baritone heroes of Broadway musicals—including, most important, himself. The self-mocking stance plays beautifully. Throughout, Gaines is smiling and wholly at ease, obviously having a blast.

The approach bodes well for every aspect of director Steven Glaudini's cheerfully loopy staging, which hews closely to both the original production and the national tour that stopped in Southern California in late 2009. Musical director John Glaudini and the pit band apply steady hands to John Du Prez and Eric Idle's score, while Billy Sprague Jr. re-creates Casey Nicholaw's spirited original choreography, an omnibus of musical theater styles. A plus for Python fans, Idle's book includes most of the key scenes from his and his fellow Pythoners' 1975 screenplay.

Idle's lyrics, though, propel "Spamalot" from parody to shades of genius, mercilessly deriding every subject imaginable—socioeconomic inequality, homosexuality, Las Vegas glitz, and the endearingly silly trait of debating over minutiae. Idle's real target, however, is the genre of musical theater. "Camelot," "Man of La Mancha," "Les Misérables," "Fiddler on the Roof," "Singin' in the Rain," and more are lampooned—but so is "Spamalot." Such self-referential humor has rarely been so inspired or so enjoyably laughable.

While the production's visuals and style—Tim Hatley's sets and costume design, Elaine J. McCarthy's projections, Steven Young's lighting, Julie Ferrin's sound, ZFX's flying effects, and J.S. Marsh's special effects—dominate, Gaines and the seven other principals, notably Jamie Torcellini as Patsy and Tami Tappan Damiano as the Lady of the Lake, are superb in every respect, and the six-man, six-woman ensemble is wonderfully versatile. The Python machine keeps rolling while likely winning over many new fans.

Presented by Musical Theatre West at the Richard and Karen Carpenter Performing Arts Center, 6200 E. Atherton St., Long Beach. June 29–July 15. Thu. and Fri., 8 p.m.; Sat., 2 and 8 p.m.; Sun., 2 p.m. (Additional performance Sun., July 8, 7 p.m.) (562) 856-1999, ext. 4, or www.musical.org.