You’ll Laugh A Lot And Clap A Lot

Monty Python’s “Spamalot” is a silly play. That’s not a criticism. Every once in a while, it’s refreshing to be silly.

There are sight gags and word play that demands the audience keep their wits about them — as well as plenty of belly laughs. The fact that Eric Idle’s musical comedy is an adaptation of the 1975 film “Monty Python and the Holy Grail” should be fair enough warning that nothing serious is about to happen.

The current production of “Spamalot,” at the Mac-Haydn Theatre in Chatham, N.Y, makes every effort to be true to the intent, mischief and mayhem of the original Broadway production. 

Director Neal Kowalsky has big shoes to fill. The original presentation of “Spamalot” was directed by none other that Mike Nichols and ran for more than 1,575 performances, winning three Tony Awards, including best musical. Based on the general elation of the audience throughout the play, Kowalsky has done a great job, being able to harness a sprawling production and make it work in the intimate confines of the Mac-Haydn Theatre.

John Anker Bow makes his Mac-Haydn debut as King Arthur and brings great stage presence, a clear and dominating baritone and a great flair for improvisation to the stage. Near the end of the play, when “the Grail” is about to be discovered, the device hinges on an unsuspecting member of the audience who is invited to the stage along with “the Grail.” As one might imagine, the selected audience member may not be in a theatrical mood. The stage may not be a comfortable spot for them. From resting comfortably in a theater seat to standing amid costumed actors with an entire audience hanging on your every word is not everyone’s “grail of tea.” Bow is both smooth and charmingly humorous in making the scene work, even if the highlighted audience member does not seem to be playing along.

Madison Stratton has graced the Mac-Haydn stage before this summer as Christine Colgate in “Dirty Rotten Scoundrels.” To the delight of the “Spamalot” audience, she returns with an elegant presence on stage (punctuated by some lovely physical comedy) and, most importantly, with her wonderful voice. The lady can sing, and she makes the most of her solos, sending chills through the crowd with her range and strength.

Sir Galahad enters the play as Dennis, the social anarchist who refuses to recognize King Arthur until The Lady of the Lake (and the Laker Girls … pom-poms akimbo) completely change his mind. He becomes Sir Galahad, and is a delightful scamp throughout the rest of the play. Gabe Belyeu adds this role to his string of eight seasons of accolades at Mac-Haydn.

The play’s musical foundation is first rate. Musical Director Jillian Zack and Associate David Maglione have assembled around them a collection of very talented musicians. There is hearty singing, athletic dancing, spinning choreography by Sebastiani Romagnalo and amazing changes of the costumes designed by Angela Carstensten that make the large cast seem like an army. 

But fair warning: There are some politically incorrect moments in “Spamalot.” 

It’s not that the audience didn’t laugh at the references to Jews in “You Won’t Succeed on Broadway” or snicker at the revelations that Lancelot and Herbert are gay or chuckle at the bawdy, tasteless characterization of the French. It is, however, worth considering whether the British upper-class point of view depicted in “Spamalot” isn’t possibly a slightly uncomfortable reflection of some attitudes and perspectives in our own contemporary society. The Pythons were consistently outrageous, often bruising and entirely hysterical in their interpretation of life, love, religion and society in general. “Spamalot” is all of that … and more.

“Spamalot” runs through Aug. 20 at The Mac-Haydn Theatre on Route 203 in Chatham, N.Y. For tickets, call 518-392-9292 or go to www.machaydntheatre.org.