Review: Laughter on the 23rd Floor at Cockpit in Court Summer Theatre

By Yosef Kuperman

Run time: Approx. 2 hours and 15 minutes with one intermission

(L to R) Alan Berlett as Kenny Fanks, Thomas “Toby” Hessenauer as Max Prince, Chris Cahill as Vlad Slotsky, and John Dignam as Milt Fields Credit: Cockpit in Court

Cockpit in Court Summer Theatre’s Laughter on the 23rd Floor (written by Neil Simon and directed by John D’Amato) is a work of historical fiction, biography, and comedy. I have no personal knowledge of the historical parts, but it’s a great comedy. Expect a witty combination of wordplay, one liners, and slapstick in a world with artistic

notes a la Mad Men.

John D’Amato’s staging deserves a shout-out in Cockpit in Court’s upstairs cabaret  theater, which is an intimate space with small numbered tables (Side note: You can bring food in; no table service). The stage is set up in the round in the center of the room, raised slightly off the ground and the center stage becomes the office for a team of TV comedy writers. Of the four corners of the stage, the characters enter through one, throw stuff out the window at the end of another, scribble on a third, and literally punch through the fourth. D’Amato uses the space effectively and the ensemble moves around so well you never feel anyone’s got their back to you.

Laughter’s core comedy derives from a combination of slapstick antics and the different eccentric writers (the funniest is Tirrell Bethel as Ira Stone) playing off each other and their boss —Max Prince (Thomas Hessenauer). Max Prince is a substance-abusing and angry star who’s losing his touch. He can barely understand what happens around him and lives in a semi-delusion world of cryptic classical allusion, paranoia about NBC cutting his show, and rage. However, he loves his show and his writers, and doesn’t want to fire his writers even as the show fails. Hessenauer’s performance gives the show the heart the comedy needs.

Jeniffer Skarzinski and John Dignman. Credit: Cockpit in Court

Laughter is also historical fiction set in the 1950s. The Second Red Scare is happening and the characters worry about (and deeply hate) Joseph  McCarthy. Stalin’s death happens, the USSR gets the hydrogen bomb, and, in the end, the characters reference that the Senate censors McCarthy. Though it’s not a huge part of the story, the Neil Simon cleverly leaves it in the background to establish the setting.

Laughter is also thinly veiled biography with Max Prince is a stand-in for Sid Caesar, Ira Stone for Mel Brooks, Lucas (the narrator) for Neil Simon himself, etc. It’s literally one-to-one. Look it up and you’ll see the not-so-well-hidden similarities. I’m not familiar enough with the history to know how well Neil Simon described what “really happened”, but this is his portrayal of his workplace full of famous comedians.

The historic and biographic elements make the show’s most invisible decision leap out at fans of history. Laughter refreshingly uses color blind casting. As a result, a play located in pre-Civil-Rights 1952 has two African-American writers on the team and makes tons of vaguely-racist ethnic-based jokes, and ignores race. The characters in fact rag on Ira Stone (played by African-American Tirrell Bethel) being Jewish (along with other character’s Russian and Irish heritage). From the dialogue, you’d never realize race relations were even a thing and that’s because the playwright’s Lucas (i.e Neil Simon) and Ira Stone (i.e. Mel Brooks or maybe Woody Allen) were Jewish in the original.

The Cast of Laughter on the 23rd Floor. Credit: Cockpit in Court

If you see this play as historical fiction / biography, that casting decision breaks the suspension of disbelief. Race relations were the defining issue of the 1950s. Think Martin Luther King, Brown v. Board of Education, school desegregation, Selma, etc. You can’t set a show in the 1950s and pretend it wasn’t a thing. But that’s exactly what this production does.

This production of Laughter does this because it cares more about the comedy than the history. They cast Tirrell Bethel because he’s an awesome comic actor who turns Ira Stone into the funniest role on set. He makes the comedy pop and that’s more important than accurately portraying racial attitudes in 1952. I watch to be entertained, not educated. You just need to suspend your historic disbelief a little.

For the non-historically inclined, don’t worry. You don’t need to know (or care) about the history to get the jokes. This isn’t historical humor like Death Of Stalin. It’s a story about the antics of TV comedy writers and their half-crazy-but-very-funny boss. The performances are admirable, the script is witty and engaging, and the gives us a rare glimpse into the office of TV comedy writers. It’s got heart and humor and is definitely worth seeing.

Laughter on the 23rd Floor will run through July 1 at Cockpit in Court Summer Theatre, CCBC Essex, Robert and Eleanor Romadka College Center, Cabaret Theatre. For tickets call the box office at 443-840-ARTS (2787) or purchase them online.

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Review: Avenue Q at Cockpit in Court

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 15 minutes with a 15-minute intermission

If you’re looking for some good old fashioned educational television that teaches kids how to count to 12 or has a word of the day presented by a green frog… you won’t find any of that here at Cockpit in Court Summer Theatre’s first offering of the season, Avenue Q by Jeff Whitty and Music and Lyrics by Robert Lopez and Jeff Marx, Directed by Todd Starkey with Music Direction by R. Chris Rose and Choreography by Elise Starkey. This is a stretch for Cockpit in Court, compared to their previous showings and I, for one, am glad they took the leap. It’s a funny, in-your-face show that leans more toward adult humor that will have you laughing and nodding your head about things you often think of but don’t say because you’re too courteous to do so.

The Cast of Avenue Q at Cockpit in Court Summer Theatre. Credit: Cockpit in Court

Avenue Q tells a tale about a college graduate, Princeton, trying to find his “purpose” in life. It is set in NYC, all the way out on Avenue Q (because Princeton couldn’t afford anything more). While he is struggling to find his purpose, he meets friends, finds love, loses love, and finds it again. Loosely inspired by the famous Sesame Street, this puppet-filled world reflects the crazy, sometimes filthy, adult realities of the world around us. We learn that real life isn’t really as simple as we dreamed it would be when we were kids, but this show hints that, even though it’s not like the dreams we had, life is still colorful and worthwhile.

Bob Denton’s Set Design is simple, yet superb. His design treats us to a set of detailed row homes and shop fronts that have been seemingly turned into apartments and his choice of drab, dull colors and use of second story levels adds a distinct realism to the piece. His attention to detail is fantastic and he uses his space wisely, creating a unit set with set pieces that enter and exit to express more specific spaces. Overall, Denton is to be applauded for his work.

Costume Design by Eva Grove is spot on as the characters come to life in their individual attire. Though most of the puppets probably came in their own garb, Grove’s work is still evident in the “human” characters in this piece and her choice of costumes enhanced the characters. For instance, the unkempt look of Brian, the slacker, and the more put together but traditional Asian fashions for Christmas Eve really took these characters to the next level. Kudos to Grove for a job well done.

Elise Starkey took on the task of Choreographing this piece and creates engaging movement that is a delight to watch. She seems to know and understand her cast and their abilities and her choreography enhances their abilities and makes for fun, upbeat numbers that the cast obviously enjoys performing. This production doesn’t require huge dance numbers but Starkey has created choreography that is simple enough to fit perfectly into the production but intricate enough to stay interesting and entertaining.

Veteran Music Director R. Chris Rose has guided this ensemble beautifully keeping them in harmony and on key. Many of the ensemble members are singing in character voices, but Rose has not skipped the musicality in spite of that challenge. He has a tight grasp on this material and it’s apparent through the performances of the apt ensemble. It’s absolutely worth mentioning the stellar and on point pit orchestra he’s assembled though it is unfortunate that the program (both hard copy and online) does not list the players as it wouldn’t be a musical without music and this pit orchestra should be applauded for their efforts.

The Cast of Avenue Q at Cockpit in Court Summer Theatre. Credit: Cockpit in Court

Todd Starkey takes the helm of this production and is no-holds-barred, which is just the kind of kick in the rear that Cockpit in Court needs. He takes the script, in full, and presents it with a clear vision and fearless attitude. Now, this type of show could be considered tame in some theatres in town, but this is actually a big step for Cockpit in Court and I’m very excited they’re taking it. Starkey’s casting is superb and it’s clear he has a great comprehension of the text and the message that being an adult just plain sucks sometimes, but life goes on and we figure things out as we go. Kudos to Mr. Starkey for a job very well done on this production.

Moving on to the performance aspect of this production of Avenue Q, I’d be amiss if I didn’t mention the hard work this ensemble put into the performance of this production. It must be a major challenge working with puppets but these actors seem to have mastered this task. In some cases, two people are needed to operate one puppet and those teams are flawless. The audience may even forget these characters are puppets because the actors are doing such a great job in their operation and portrayals.

As the human characters, Tigga Smaller as Gary Coleman, Stanton Zacker as Brian, and Suzanne Zacker as Christmas Eve give terrific performances and hold their own against the novelty of puppet characters. Smaller, though a bit scripted and stiff in her dialogue is a powerhouse when it comes to vocal stylings and Stanton Zacker and Suzanne Stacker’s characters are spot on with great chemistry and timing that is necessary for this piece.

Lauren Stuart, who is no stranger to the Baltimore stages, takes on the character of Lucy, the promiscuous and slutty puppet and she pulls off this character near flawlessly. Her featured number, “Special” is impressive and she certainly makes a splash.

Josh Schoff as Princeton. Credit: Cockpit in Court

Josh Schoff takes on Princeton, our “hero” and his character work is notable had one really feels for this character throughout the show. Vocally, he pulls off his numbers nicely, but his strengths lie in the character which he portrays authentically and with confidence giving a great showing.

Will Meister as Trekkie Monster (with Tate Erickson) may be one of my favorite characters as it seems Trekkie Monster has lost all give-a-f***. Meister’s portrayal, with the help Erickson (he’s a big monster so, he needs two puppeteers to manage), makes this character both crude and lovable. His featured number “The Internet is for Porn” is definitely funny and the tinge of truth it has makes on think. The teamwork between Meister and Erickson is top-notch and they are to be commended for their portrayal as Meister is to be commended for the character study he’s put into it.

A highlight in this piece is Clare Kneebone as Kate Monster, the sweet “girl-next-door” who, like Princeton, has aspirations but doesn’t quite know how to achieve them. Kneebone plays her sweetl,y but real and rough around the edges, which makes this character so authentic. She understands this character and the material and even though she is using a character voice, the realism comes through because of that comprehension. Vocally, Kneebone does not disappoint with a clear, booming voice that resonates throughout the theatre as it does in her featured, poignant number, “There’s a Fine, Fine Line.” She’s certainly one to watch.

Amanda Poxon and Will Poxon as Nicky and Josh Starkey as Rod. Credit: Cockpit in Court

Definite standouts in this production are Josh Starkey as Rod and Will Poxon (with Amanda Poxon) as Nicky. These actors take their performances to the hilt and completely embody these characters. Starkey, as Rod, skillfully uses a character voice that fits perfectly (and is reminiscent of Bert from Sesame Street fame) and an uptight attitude to match. He brings this character to life easily and through the character voice, vocally, he is spot on, especially in his cute and tender featured number, “Fantasies Come True.” A perfect match for Starkey’s Rod is Will Poxon’s Nicky, who he operates with Amanda Poxon). If any of these characters are perfect, it would be Nicky. Will Poxon’s character voice couldn’t be more perfect (which, of course, is an homage to Ernie from Sesame Street) and it takes his performance to the next level. It’s worth mentioning, too, that Amanda Poxon, though silent, gives a stellar performance with just her face and gestures that help this performance rise to the top. In his featured and hilarious number, “If You Were Gay” will have you in stitches and he doesn’t falter once, vocally. Kudos and congratulations to Starkey and Poxon for impeccable performances.

Final thought…Avenue Q is a fun and quirky look at the adult side of puppetry and no-holds-barred look at life from the point of view of someone just starting out in the real world. The production value is phenomenal, the performances are top-notch, the puppetry and character work are stellar, and the story/script, though not suited for all, is engaging and good in the way that it is not trying to be more than what it is… a comedy that makes people laugh (sometimes nervously) and says the things we are all sometimes thinking but are too polite to say. The music is modern with some catchy tune and makes for a delightful evening well spent. Don’t let this one pass you by this season. Get your tickets!

This is what I thought of Cockpit in Court Summer Theatre’s production of Avenue Q… What did you think? Please feel free to leave a comment!

(Puppets Constructed by Character Translations, Inc. for Music Theatre International. Avenue Q has not been authorized or approved by the Jim Henson Company or Sesame Workshop, which have no responsibility for its content.)

Avenue Q will run through July 1 at Cockpit in Court Summer Theatre, CCBC Essex, Robert and Eleanor Romadka College Center, F. Scott Black Theatre. For tickets call the box office at 443-840-ARTS (2787) or purchase them online.

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Review: The Gazebo at Cockpit in Court Summer Theatre

by Jason Crawford Samios-Uy
Gazebo-logo-PROGRAM
Running Time: 2 hours and 20 minutes with one 15-minute intermission
Murder mysteries are a staple of community theatre, especially summer community theatre and and one can always count on Cockpit in Court Summer Theatre to successfully present at least one, if not more each summer. C&Cs latest offering, The Gazebo by Alec Coppel, based on a story by Myra Coppel and Alec Coppel and Directed by Baltimore theatre veteran Linda Chambers is a little different, but in a good way.
The Gazebo isn’t your run of the mill “whodunit” but a farcical display where the TV-writer-husband is trying to secretly get rid of a house in the suburbs to move back to the city and the soap-opera-actress wife falls in love with a European gazebo that she has delivered to N.Y. piece by piece, as a present for her husband, and the audience already knows who the killer is but the question is… who’s the victim? The script moves along nicely and the characters are likeable and the twist toward the end makes it a very enjoyable production.
At first glance, I could tell this was a top notch production as the set, which is in a round, is absolutely beautiful. The stage is just about on the same level as the audience, but Set Designer Moe Conn does a brilliant job expressing the elegance of an early 60s Long Island, N.Y. home from the gold wall art to the intricate fireplace and bookshelf display. Conn does a great job of matching the room with appropriate furniture and everything blended very well together.
Conn also took on the duties of Light Designer and though with a straight play lighting is minimal, but Conn does a very nice job setting the mood and contrasting between bright scenes and dark scenes very appropriately. Though the dark scenes are supposed to be… well… dark, it may have been a tad too dark, but it was still appropriate and set the mood nicely.

(l-r back) Albert J. Boeren, Richard Ahlstrom, Tom Wyatt, Christopher D. Cahill, Anna Steuerman (l-r front) Regina Rose, Thom Peters, Liz Boyer Hunnicutt. Photo Credit: Cockpit in Court Summer Theatre

(l-r back) Albert J. Boeren, Richard Ahlstrom, Tom Wyatt, Christopher D. Cahill, Anna Steuerman (l-r front) Regina Rose, Thom Peters, Liz Boyer Hunnicutt. Photo Credit: Cockpit in Court Summer Theatre


The show actually starts with a bang and you’ve now been warned! A real stage gun is used, so… be aware! Thank goodness the audience is warned ahead of time or I would have probably been hanging from the rafters! However, I like the “go big or go home” attitude and Director Linda Chambers did a fantastic job moving the story of The Gazebo along. I’ve stated before and I’ll state it again, directing in the round is difficult work, but Chambers does it flawlessly. She moves her actors around the stage fluidly and naturally and gives attention to all four sides of the audience and she uses her space very wisely. The pacing is a bit slower than it should be for a comical farce, but still moves along nicely (though the blackouts between scenes could pick up the pace a bit, as well). Chambers vision is apparent and her casting is on point.
According to the program, the time of this piece was the “Early 60s” and Costume Designer Eva Grove does a fine job costuming the cast in the garb reminiscent of that ear. I say reminiscent because I wouldn’t say the look was exactly from the 60s but with the loud prints and saddle shoes, it had hints of the ear. That being said, the costumes were absolutely wonderful and appropriate. Grove’s actors were comfortable, which is very important, and were dressed as I imagined their characters would be dressed being from upper class Long Island.
Thom Peters and Liz Boyer Hunnicutt as Elliott and Nell Nash. Photo Credit: Cockpit in Court Summer Theatre

Thom Peters and Liz Boyer Hunnicutt as Elliott and Nell Nash. Photo Credit: Cockpit in Court Summer Theatre


Heading up the small cast of The Gazebo, Thom Peters takes on the role of Elliott Nash, the TV writer who is stuck in the suburbs of Long Island because his wife loves the house they live in but longs to be back in the New York City, living in the Algonquin Hotel with their outstanding room service. Peters does outstanding work portraying this role when things are going well for Elliott Nash but when things start getting a little frantic, Peters seems to have a hard time keeping up. A farce is very fast-paced with many things happening at the same time and when the pacing in the script picked up, Peters performance became exasperated facial expressions, a high-pitched voice, and flailing arms. However, that’s not to say his performance wasn’t good, just a bit much and a drastic change from when things were running more smoothly in the script. Overall, his performance is very good, indeed, and he is comfortable and confident on stage and seems to understand his character and the troubles his character has to endure.
Tom Wyatt, known in Baltimore theatre, takes on the role of Harlow Edison, the next-door neighbor and friend who happens to be a District Attorney, is a highlight in this production. From his first appearance on stage, his has a very good command of the stage and has a great presence. He’s very natural and comfortable and glides effortlessly through his performance. He’s a joy to watch in this production.
Tom Wyatt and Liz Boyer Hunnicutt as Harlow Edison and Nell Nash.

Tom Wyatt and Liz Boyer Hunnicutt as Harlow Edison and Nell Nash.


As the leading lady in this production, Liz Boyer Hunnicutt, a Baltimore theatre regular, is the standout as Nell Nash. She really seems to know her character and couldn’t be more natural in this role and she is quite comfortable and confident on stage with a commanding presence that doesn’t overpower but makes one take note. Her comedic timing is spot on and she really seemed to get the nuances of her character, the actress-wife who only wants her husband to be happy and will stick by him through thick and thin, whatever that may be. Hunnicutt’s performance alone is worth the price of admission.
In a more minor but very important role, Christopher D. Cahill tackles the character of Charlie Thorpe, the contractor who lays the foundation for the titular gazebo (of which he humorously pronounces “Gaze-boh”). Cahill’s character acting hits the nail on the head and is a highlight in this production making Charlie Thorpe a very likable character who reminds me of that favorite uncle with the down-to-earth charm that makes you smile when he comes around. Cahill also takes on the role of a British tough-guy called The Dook, which is a complete flip from the down-to-earth Charlie Thorpe and he pulls this role off brilliantly, as well. Two completely different characters performed flawlessly by one actor.
Tom Wyatt, Anna Steuerman, and Thom Peters as Harlow Edison, Matilda, and Elliott Nash. Photo Credit: Cockpit in Court Summer Theatre

Tom Wyatt, Anna Steuerman, and Thom Peters as Harlow Edison, Matilda, and Elliott Nash. Photo Credit: Cockpit in Court Summer Theatre


Rounding out the cast are Regina Rose as Mrs. Chandler, the motivated real estate agent secretly working with Elliott Nash, Anna Steuerman as Matilda, the unimpressed maid of the Nashes, Richard Ahlstrom as Louie, the bumbling assistant thug to The Dook, and Albert J. Boeren as Detective Jenkins, the no-nonsense officer of the law just trying to get down to the bottom of things.
Final thought… The Gazebo is a light mystery-farce that moves along quickly and has some magnificent performances. Not the usual “whodunit” but very enjoyable and is appropriate for the space and all audiences. If you’re looking for something fun to do the next couple of weekends, check out this show! Bring your friends and see if you can figure out who the victim might be!
This is what I thought of this production of The Gazebo.… what do you think?
The Gazebo will play through July 31, Friday-Saturday at 8pm, Sundays at 3pm at CCBC, Essex Campus, Community Center. For tickets, call 443-840-ARTS (2787) or purchase them online.
 

Review: Monty Python's Spamalot at Cockpit in Court Summer Theatre

by Jason Crawford Samios-Uy
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Running Time: 2 hours and 25 minutes with one 15-minute intermission
Many folks the world over are familiar with or at least have heard of that crazy troupe from across the pond called Monty Python and this company’s various films and television appearances. I was one of those folks who had heard tell about this zany group of people but… I admit it… I was not very familiar with their work and I do get funny looks for saying so! However, I did have the pleasure of seeing Cockpit in Court Summer Theatre’s latest offering, Monty Python’s Spamalot, with Music by John Du Prez and Lyrics & Book by Eric Idle, Direction by Laurie Starkey, Musical Direction by R. Christopher Rose, and Choreography by Amanda Dickson.
Having heard of Monty Python, I knew I was in for some comedy but I was glad I hadn’t seen any of the films because I was able to go in with no preconceived notions. I knew this piece was loosely based on the story of King Arthur and Camelot but that’s about as far as my knowledge went. Most of the jokes, although about 40 years old, were new to me and I enjoyed watching the audience burst into fits of laughter and often joined in.

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(l-r) Jeff Burch, Steve Flickinger, David Jennings, Chip Meister, Phil Gallagher, and Gary Deiter as King Arthur and the Knights of the Round Table and Patsy. Photo Credit: Lisa Boeren


From the moment I entered the theatre, I knew I was in for a treat from a technical standpoint and Scenic Designer Michael Rasinski took me back to the Middle Ages with his brilliant set. The focal point is a large two story castle right in the middle of the stage with two towers on either side. Along with smaller set pieces, the set came together very nicely, and scene changes were fluid and quick. The large set, which looked like a lot of thought and care was taken, helped the story along without overshadowing it. While renting sets and set pieces is easier and a route many larger theatres take, Rasinski designed and created a sensational, original set that deserves its own curtain call. I also have to mention the representation of “God” that was very clever and funny as the higher being is portrayed as to very, very large feet that fly in and , indeed, that might need a bit of room to store for the next time! The attention to detail is impressive and I’m looking forward to seeing more from Rasinski in the future.
Adding to the production value is the well thought out costume plot by Costumer Mark Briner. This seems like a show with a million costumes, but Briner has brilliantly managed to make sure every piece of wardrobe is in place and each character is costumed appropriately whether it be the female ensemble in soldier uniforms or a male actor playing the mother of a knight, all the costumes are spot on and fitting for this madcap musical.
Speaking of music, Music Director R. Christopher Rose did a fine job of getting this large cast to perform these songs swimmingly. As a fan of “old-fashioned” Broadway, all the songs were definitely of the traditional “show tune” variety and the cast pulls them off nicely under the direction of Rose.
As far as community theatre goes, Choreographer Amanda Dickson knocks this production out of the park! Her choreography is not only appropriate for the piece, but very entertaining and well thought out. All of the larger numbers like “Knights of the Round Table” were tight and precise, which is what I look for in group dances, and the cast looks like their having a blast performing. “The Laker Girls” cheer routine was brilliant and the ensemble performed it flawlessly and the tap numbers (which make this old fashioned Broadway guy smile ear to ear) hit the nail on the head! Dickson seems to know her cast and choreographs accordingly, making the production look effortless.
Rounding out the production side of Month Python’s Spamalot, I mustn’t neglect Director Laurie Sentman Starkey and I have to say she does a bang up job with this production. She seems to have a complete grasp of the material and the comedy therein, which is no small feat and her vision is well thought out and it transferred flawlessly to the stage. Her casting choices were superb and under her guidance, this production is top notch.
Overall, the performance of Cockpit in Court’s Monty Python’s Spamalot was very enjoyable and every entertaining. Again, as a person who was only somewhat familiar with the popular Monty Python, I was certainly not disappointed, in general. I consider Monty Python’s Spamalot an ensemble piece and I adore ensemble pieces as it features each individual of a cast in one way or another. The female ensemble of this piece is absolutely on point with their dances and voices and they added a certain pizazz that I look for in this kind show. The male ensemble, though decent and giving a very respectable performance, doesn’t seem to have the energy that the female ensemble has in the group numbers. One mostly male ensemble group number (and eleven o’clock number), “His Name is Lancelot” stands out to me, but, I must say that, though it was a disco, upbeat song, the performance is a little flat and fell short of energizing the audience as it should have. Regardless, it is clear the entire ensemble, both female and male, gives 100% to their performance and carried the show along very nicely.
Sir Lancelot, one of the most famous Knights of the Round Table is portrayed by standout Steve Flickinger, who also takes on many other roles in this piece including a French Taunter, a Knight of Ni, and Tim the Enchanter, all of whom he portrays magnificently. Flickinger is a brilliant character actor with great comedic timing who’s quite a busy bee in this production but each of his characters is unique and stands on their own.
Another standout in this production is Jeff Burch, a Baltimore theatre native who takes on the role of Sir Robin, as well as Guard 1 and Brother Maynard. Burch does a splendid job as Sir Robin, the Knight of the Round Table who has, shall we say, theatrical proclivities and a habit of soiling himself at the most inopportune times. His number “You Won’t Succeed on Broadway” is one of those old fashioned numbers I’d mentioned before and Burch performs it flawlessly with high energy.
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Eileen Keenan as The Lady of the Lake with Ensemble. Photo Credit: Lisa Boeren


As the only female with a featured role, Eileen Keenan takes on the role of The Lady of the Lake, and being the only featured female among all these zany male characters can be quite challenging. However, Keenan tackles the role with no holds barred and carries her own with this crazy actors and has a big voice with an impressive belt, which is exactly what this role needs. There were times when Keenan seemed a little out of breath for her big diva-esque numbers and her pitch may have been a little off as was the case in her number “The Diva’s Lament” but, overall, she performed the role brilliantly and with a brassy confidence that is required for this challenging role.
David Jennings as Sir Gallahad, as well as taking on the roles of Herbert’s Father and The Black Knight is one of the highlights of this production. His comedic timing is spot on and he commands the stage whenever he steps on. He seems to understand the tongue and cheek comedy of this piece and though his performance is outstanding, he knows not to take himself too seriously as to not ruin the comedy of his characters. He exhibits this understanding in his duet with Eileen Keenan, “The Song That Goes Like This.” It’s a beautifully written song, but still comical, and can’t be taken too seriously and though the two perform the song beautifully, the comedy is still prominent and shines through. I look forward to seeing great things from Jennings in the future.
Gary Deiter as Patsy and Phil Gallagher as King Arthur. Photo Credit: Lisa Boeren

Gary Deiter as Patsy and Phil Gallagher as King Arthur. Photo Credit: Lisa Boeren


Another absolute highlight and standout in this production was Baltimore theatre veteran Gary Dieter who takes on the role of Patsy, King Arthur’s devoted and belittled manservant. There’s not much I can say about Deiter’s performance other that it was near perfection. He is certainly a triple threat. His acting and comedic time are superb as he also takes on a couple of other roles in the piece, his voice is big and confident, and his dancing is magnificent, especially his tap dancing skills which are hands down excellent. He takes the lead in the number “Always Look in the Bright Side of Life” arguably the most famous of the songs from this production, and his performance is impeccable in this production. He has a great command of the stage and is a pure joy to watch in this production.
Of course, Monty Python’s Spamalot couldn’t be without the character of King Arthur, who is portrayed by Phil Gallagher. It’s a fun-fact that Gallagher is actually from across the pond and his British accent is absolutely genuine. He’s a fine actor and seems to grasp understand the comedy of the piece but, according to his bio, this is his very first attempt at musical theater and… it shows. While he is up against power houses like Dieter and Jennings, his singing and dancing seem sub-par but he does hold his own and is very comfortable on the stage, which helps immensely. Though his performance is up to the level of some of his fellow actors, he keeps the character light and airy and he does have great comedic timing. He may not have experience with musical theatre, but his confidence shines through and his command of the stage is evident.
Rounding out the cast are Chip Meister, another Baltimore theatre regular, who takes the roles of Sir Bedevere, Dennis’ Mother, and Concorde, Stanton Zacker, as Not Dead Fred, and Sir Bors, and Austin Shields as Historian, Minstrel, and Herbert.
Meister pulls his characters off gloriously, especially as Dennis’ Mother, who he plays in bad drag, and has the audience in stitches, Zacker, as Not Dead Fred, participates in one of the most famous bits from Monty Python and takes the lead in the number “I Am Not Dead Yet,” in which he gives a wonderful performance, also leaving the audience in fits of laughter, and Shields, who opens the show as the Historian and sets the tone and pace, does a very nice job as the Minstrel and Herbert with his tenor voice and slim frame which both fit perfectly with the roles.
Final thought… Monty Python’s Spamalot is a perfect production for a larger community theatre and Cockpit in Court’s production is not to be missed this summer. Overall, it is a very enjoyable, funny, fast-paced show that is chock full of familiar jokes and bits but also has a fresh presentation for those who are not so familiar. I was unfamiliar with the show but I was certainly NOT disappointed. As a matter of fact, I’m looking forward to seeing the Monty Python films on which this show is based!
This is what I thought of this production of Spamalot.… what do you think?
Monty Python’s Spamalot will play through July 31, Friday-Saturday at 8pm, Sundays at 3pm, and Thursday, July 28 at 8pm at CCBC, Essex Campus, Community Center. For tickets, call 443-840-ARTS (2787) or purchase the online.