Monty Python's Spamalot' is the sort of play which manages to convey maximum information merely through its name — it is based on King Arthur's legendary quest for the Holy Grail, but is set to a modern context, styled as a musical and flavoured with a touch of comedy.
Directed by Leila Alvares, this play emerged like a breath of fresh air for weary Bangaloreans who are tired of similar plays and theatre cliches.
The production began on a promising note, with a bevy of dancers, clad in bright peasant clothing, singing an ode to Finland — complete with Finnish accents and holding large silver fish to emphasise the nationality.
As soon as the dance is complete, the narrator strides onto stage and informs them — rather coldly — that the play was set in England, not Finland, and asks them to pay attention to their enunciation.
The characters of the play are introduced seamlessly: King Arthur, who is manliness personified and rather convinced of his divine right to rule; Lancelot, a cheeky knight with a penchant for twisting every statement he hears; and Galahad — whose first name, it transpires, is Dennis — who transforms from a politically left-wing enthusiast to a fine knight of the Round Table.
After the set of knights are finalised — a process which includes much singing and dancing and loses no opportunity to introduce a troupe of scantily-clad dancing girls at regular intervals — they are finally given a task by the Lord: they have to find the Holy Grail.
The trials, tribulations and liberal doses of comic
moments they face on the way comprise the rest of the play.
There are certain statements in the play which make for especially heart-felt
laughter, and remain in the memory long afterwards.
For instance, Galahad's response to King Arthur's dramatic tale of recovering Excalibur and assuming the throne — "Strange women, lying in ponds, distributing swords — is that any basis for a system of governance?"
Not to mention the first reaction when entrusted with the task of finding the Holy Grail — "Lord, the almighty and all-knowing, has misplaced a cup?"
Another rather poignant remark made by King Arthur, with a philosophical leaning, was: "Why are we called the Middle Ages when nothing comes after?"
The costumes were fairly realistic and what was really pleasantly surprising was that most of the actors sported fairly convincing British accents.
The sets were rather grandiose, with a large backdrop of a castle.
The actors managed to keep the energy levels high throughout the play and it ended on a note which had the audience cheering loudly. To sum up, as King Arthur so succinctly puts it, "What happens in Camelot, stays in Camelot."
Directed by Leila Alvares, this play emerged like a breath of fresh air for weary Bangaloreans who are tired of similar plays and theatre cliches.
The production began on a promising note, with a bevy of dancers, clad in bright peasant clothing, singing an ode to Finland — complete with Finnish accents and holding large silver fish to emphasise the nationality.
As soon as the dance is complete, the narrator strides onto stage and informs them — rather coldly — that the play was set in England, not Finland, and asks them to pay attention to their enunciation.
The characters of the play are introduced seamlessly: King Arthur, who is manliness personified and rather convinced of his divine right to rule; Lancelot, a cheeky knight with a penchant for twisting every statement he hears; and Galahad — whose first name, it transpires, is Dennis — who transforms from a politically left-wing enthusiast to a fine knight of the Round Table.
After the set of knights are finalised — a process which includes much singing and dancing and loses no opportunity to introduce a troupe of scantily-clad dancing girls at regular intervals — they are finally given a task by the Lord: they have to find the Holy Grail.
The trials, tribulations and liberal doses of comic
moments they face on the way comprise the rest of the play.
There are certain statements in the play which make for especially heart-felt
laughter, and remain in the memory long afterwards.
For instance, Galahad's response to King Arthur's dramatic tale of recovering Excalibur and assuming the throne — "Strange women, lying in ponds, distributing swords — is that any basis for a system of governance?"
Not to mention the first reaction when entrusted with the task of finding the Holy Grail — "Lord, the almighty and all-knowing, has misplaced a cup?"
Another rather poignant remark made by King Arthur, with a philosophical leaning, was: "Why are we called the Middle Ages when nothing comes after?"
The costumes were fairly realistic and what was really pleasantly surprising was that most of the actors sported fairly convincing British accents.
The sets were rather grandiose, with a large backdrop of a castle.
The actors managed to keep the energy levels high throughout the play and it ended on a note which had the audience cheering loudly. To sum up, as King Arthur so succinctly puts it, "What happens in Camelot, stays in Camelot."