Review: It’s “Loverly” at Spotlighters Theatre with Pygmalion

Posted on February 25, 2019 by Jason

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 30 minutes with one intermission

In this day and age, there’s no real distinction between how a woman should look and act and how a man should look and act, and there shouldn’t be, but some folks think so and they certainly did think so in the early 20^th century. Not only the way one looks, but how one should act was also a product of the precise class distinction that went on around that same time. However, Spotlighters Theatre latest offering, Pygmalion by George Bernard Shaw, Directed by Sherrione Brown, breaks down that comfortable way of thinking and presents us with a opposing view that a person can indeed make changes to oneself to be whatever he or she wants to be, without losing those qualities that make them unique. Written in 1912, it’s a period piece, but, deep down, has a message that is timeless.

(l-r) Phil Gallagher, Randy Dalmas, and Linae’ C. Bullock. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Now, I’m sure most of you are familiar with the smash Lerner and Loewe musical My Fair Lady and all the catchy songs that go along with it including “Wouldn’t it Be Loverly” and “I Could Have Danced All Night,” but… it all started with this play right here. Pygmalion, in a nutshell, takes us back to 1912 England where a brash flower seller is taken on by the sometimes harsh Dr. Henry Higgins and the gentle, caring Colonel Pickering to see if Higgins can transform her from a “gutter rat” into a duchess by simply changing the way she speaks.

Spotlighters always manages to impress me with their Set Designs and what they do with their intimate space, however, in this instance, Set Design by Director Sherrione Brown is a bit uninspired, but it is simple and works with the piece. However, in a piece such as Pygmalion where there is supposed to be a distinctive contrast between the streets of London and the parlors of high society, there’s not much change as this production uses simple but appropriate set pieces (as is the fashion at Spotlighters). To present locales and Brown has selected pieces that do this nicely, but the usual ambiance that presents any particular production throughout the theatre and immerses the audience in the story just seems to be missing.

(l-r) Phil Gallagher and Randy Dalmas. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Set Design aside, Costume Design by Jenifer Grundy Hollett is splendid. She has managed to capture the time period and gives the main character, Eliza Doolittle a definite and precise change in look to show her transition. Her attention to detail is exquisite and she should be applauded for her efforts. I’d be amiss if I didn’t mention Hollett is also a performing ensemble member taking on the role of Mrs. Pearce, Henry Higgins level headed housekeeper and she is definitely a standout in this production. Though taking on a supporting role with limited stage time, she makes the most of her character and gives a strong, solid performance with a natural delivery of the dialogue that make her performance a joy to watch.

Sherrione Brown, who has taken the helm of this production really knows her stuff when it comes to this story. She has a strong comprehension of this material and her staging is smooth (with only a few clunky and lengthy scene changes) and the pacing of this two-and-a-half hour period piece is on point. She handles this well known story nicely and presents it in an easy-to-follow manner. She guides this production with an assured hand and seems to get the best performances from her ensemble. Kudos to Brown for her Direction of this production.

(l-r) Melissa McGinley as Mrs. Eynsford Hill and Caelyn Sommerville as Calra Eynsford Hill. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Speech and accent are a huge aspect of this story; after all, it’s what Higgins thinks makes the difference between a poor girl and a duchess. Though the performances, overall, in this production are poised and polished, the accents do fall a bit short. They’re there… I can hear them, but I don’t buy them. The ensemble is working hard and their efforts are not for naught, but when it comes to dialect work, they probably would have been well served with a bit more rehearsal. The traditional cockney accent is a beast so, unless there is a certain amount of time to master it, which is just about impossible during any rehearsal schedule for a show, there will always be flaws but, again, that’s not to say the performances weren’t good, because they certainly were in other aspects.

Carlo Olivi as Freddy Eynsford Hill. Credit: Spotlighters Theatre / Shaelyn Jae Photography

In the way of supporting characters, portraying the upper-crust Eynsford Hills are Melissa McGinley as Mrs. Eynsford Hill, Caelyn Sommerville as Clara, and Carlo Olivi as Freddy, then there’s Sarah Weissman who takes on various roles such as a parlormaid and elegant hostess. Weissman fills out the ensemble well but her performance is scripted and stiff at times. She understands why her characters are there, but seems to be going through the motions for most of the production. McGinley seems to understand her character as the mother of young adults but her performance falls a little flat. She’s a bit scripted making for an unnatural delivery, but she does portray the gentleness and dignity the character requires. Sommerville, as Clara, a young woman of high society, does a terrific job of emoting the snobby, spoiled, holier-than-though attitude with slivers of politeness, especially with other members of the upper class. Sommerville is comfortable in this role though her speech seems to be off as if she’s speaking in a voice higher than her own natural voice, but other than that very minor flaw, her performance is delightful. Olivi, as the young and in love Freddy shines in this role. His authentic portrayal of this lovelorn character is believable and it’s easy to see he’s giving 100% effort in his character. He looks the part, he acts the part, and he gives a fine, sophisticated performance. An honorable mention goes out to Don Lampasone, who, a little birdy tells me, stepped into various small roles two nights before opening and gives an impressive, authentic performance as a Taximan, a Constable, and a lower class comrade of Eliza Doolittle’s. Though he keeps his script cleverly hidden in a newspaper, that doesn’t hinder his abilities and he gives a praise-worthy performance and I’m quite sure that script will be out of his hands quickly. My hat off to you, Mr. Lampasone, for stepping in and stepping up.

Rich Espy as Alfred Doolittle. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Rich Espy takes on the character of the lazy, living-in-the moment Alfred P. Doolittle, who, at heart, is a con-man that reluctantly comes into some money and is forced into being respectable. Espy’s portrayal is charming, as this character is naturally charming, if not sketchy at times, and his take causes the audience to dislike him then because of his transition riles up sympathy so, with good writing and a good performance, Espy pulls this character off nicely.

Rounding out the ensemble, Hillary Mazer who takes on the role of Mrs. Higgins, Randy Dalmas tackles the loveable and kind Colonel Pickering, and Phil Gallagher portrays the no-nonsense, logical Henry Higgins. Mazer is believable in her role as a matriarch who does care about her son, who embarrasses her every chance he gets, but has no qualms in telling him so and her chemistry with Gallagher is spot on. She plays this role with a certain finesse that makes her a likeable character and makes for an enjoyable performance.

Phil Gallagher and Hillary Mazer. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Randy Dalmas seems to embody this character of Colonel Pickering and the way he plays this role makes Pickering endearing from the start. His work with and off of Gallagher’s Higgins is wonderful and he gives a strong, confident performance throughout. Speaking of Gallagher, his portrayal of the crotchety, straight forward Henry Higgins is outstanding. He really captures the stuffiness of the character with that hint of caring that he tries so hard to hide. Henry Higgins is such a complex character, he’s easy to play to heavily stern and it’s the balance an actor needs to find within him that Gallagher does near flawlessly. His comedic timing is on point and his calm chemistry with Linae’ C. Bullock helps make his performance that much more superb.

Linae’ C. Bullock. Credit: Spotlighters Theatre / Shaelyn Jae Photography

Finally, we have a highlight of this production, Linae’ C. Bullock, who takes on the challenging role of Miss Eliza Doolittle. I don’t mind saying Bullock is truly marvelous in this role. She impressively spits out the cockney, not necessarily perfectly, but near perfect and it makes the transition this character makes all the more believable. She has a good grasp of this character and her portrayal gets across the message I think this piece wants to send which is we may change on the outside but we’ll always be who we are on the inside. She gives a high-energy performance that balances out her more subdued portrayal later that is required of the character. She manages to get the audience invested in Eliza early on and we’re rooting for her throughout. She works very well with and off of Gallagher, who makes it easy with his performance, as well as with Dalmas, and the sincerity of her different relationships with both shine through. She’s certainly one to watch in this production.

Final thought… Pygmalion can be interpreted very different ways. On one hand, it’s a story of trying to change someone to better their station in life, in the other, it’s a story of what matters is on the inside and not the outside. Seeing as though it was written in 1912, it was probably the former, but the latter still rings true. It’s always challenging to produce a 100+ year old piece for a modern audience, but Spotlighters has managed to do it with finesse and charm. The production is simple when it comes to Set Design, but it just makes the performers work harder and they’ve certainly stepped up to the task. The production, as a whole, is polished and well put together from Costume Design, staging, and performance, it’s a delightful triste to a bygone era that teaches us you can take the girl out of [insert city/town/area name] but you can’t take the [insert city/town/area name] outta the girl! Definitely worth checking out!

This is what I thought of Spotlighters Theatre’s production of Pygmalion… What did you think? Please feel free to leave a comment!

Pygmalion will play through March 10 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For tickets, call the box office at 410-752-1225 or purchase them online.

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Review: The Hairy Ape at Spotlighters Theatre

Posted on November 6, 2017 by Jason

By Jason Crawford Samios-Uy
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Running Time: Approx. 2 hours with one 15-minute intermission

The cast of The Hairy Ape. Photo: Spotlighters Theatre / Shaelyn Jae Photography

Through the ages, a class system has plagued societies and have created haves and have nots. Unfortunately, this is still true today and it’s interesting that a play written in the early part of the 20^th century can still hit us in the gut and make us face these problems and questions to which no one seems to have answers. Spotlighters Theatre latest offering, The Hairy Ape by Eugine O’Neill, Directed by Sherrione Brown, touches on these questions and problems and presents them to us quite successfully.
Whether by necessity or choice, Set Design by Sherrionne Brown is simple with set pieces and Scenic Art (with the help of Alan Zemler) and the intimate stage is sparse, but effective to the piece. To help this design, Lighting Design by Al Ramer is flawless. With cleverly insinuated settings, the Lighting Design adds value, especially with the isolation style lighting, highlighting a single actor, and shadow effects effectively representing jail cells and animal cages.
Also adding an authenticity to the production is Sound Design by Sherrionne Brown, Stephy Miller, Alan Zemla, and Fred Brown. From the sounds of the bowels of a luxury steam-liner to the sounds of the jungle, the Sound Design is well thought-out and absolutely adds value to the production as a whole.

The cast of The Hairy Ape. Photo: Spotlighters Theatre / Shaelyn Jae Photography

Adding that extra bit of authenticity is Costume Design by a few folks, including Sherrionne Brown, House of Bankerd, Fuzz Roark, Phelix Blais-Evers, and members of the cast. The Hairy Ape could be considered a period piece, but the costumes transcend time and are accurate for the 1920s but also fit in completely today. The distinction between the classes is very apparent and an interesting, over-the-top, colorful pallet is used to represent the rich and though, odd at first, makes complete sense and drives the point home. Kudos to all the a successful design.
Overall, the technical aspect of this production is impeccable and takes this piece to the next level.

The stokers. Photo: Spotlighters Theatre / Shaelyn Jae Photography

Sherrionne Brown wears a bunch of hats for this production but most importantly, she takes the helm of this piece as its Director and she has knocked it out of the ballpark. She has a complete grasp of this story and text and her comprehension of it is apparent. She keeps the actors moving about stage and the transitions are quick and concise making for great pacing. She should be applauded her assembling of such an able and committed cast, as well. This play has a message to send and Brown does it beautifully having a hand in all aspects of this production.

Thom Eric Sinn as Paddy. Photo: Spotlighters Theatre / Shaelyn Jae Photography

Moving on to the performance aspect of this production, as stated, this ensemble is strong and works well together. Taking on various, diverse roles Rebecca Clendaniel, John Covaleskie, Daniel Douek, Melanie Eifert, Bob Michel, and Jacob Urtes carry this piece along very nicely transitioning from one character to the next effortlessly and with purpose. Playing Stokers, Rich People, Prisoners, and a plethora of other roles, this small but apt troupe brings these characters to life and move the piece along nicely. Truly being an ensemble piece, every actor on the stage holds his or her own making for a brilliant, overall performance of this intense, moving piece.

Julie Press. Photo: Spotlighters Theatre / Shaelyn Jae Photography

Taking on the role of Mildred, a rich daughter of a steel tycoon who seemingly wants to understand those less fortunate than her, but only ends up insulting them (whether directly or indirectly), and realizes she might be over her head once she is actually faced with “the other side,” is played by Karen Sarliper who does an admirable job in the role but gives a performance that falls a little flat. She portrays the character’s class well, but seems scripted at times, losing some of the poise required of a girl of the upper class. However, she seems comfortable in the role and is confident in her scenes.
Thom Eric Sinn takes on the role of Paddy, an old-timer who is still breaking his back stoking coal in the underbelly of a cruise ship, and he does quite well in this role. Aside from his weak Irish accent (I believe it was supposed to be Irish), he seems to understand his character and portrays him well. His poignant monologues of how things used to be and how things are believably performed and, overall, he gives a strong performance.
A couple of highlights in this production are Julie Press who plays Aunt, the hesitant, old-school, snooty but absolutely poised chaperon to her niece, Mildred, and Phil Gallagher, who takes on the role of Long, a more progressive activist-type character who seems to have his finger on the pulse of the political climate of the time. Press gives 100% to this character giving an authentic and meaningful performance. Though more of a supporting role, Press takes this role and makes it her own making for an impressive portrayal. Along the same lines, Gallagher really delves into his character and gives a realistic portrayal. His dedication to the character is clear and he has a strong, confident stage presence.

Michael Leicht and Karen Starliper. Photo: Spotlighters Theatre / Shaelyn Jae Photography

The standout in this production is Michael Leicht, who takes on the role of Yank, the rough and gruff New York born stoker who wants to find a place to belong in this world. Leicht seems as though he was born to play this part. His intensity, focus, and commitment to this character allows Leicht to embody him completely. From the start, it’s hard to separate the actor from the character. He commands the stage and is confident in his purpose for this character. His grasp of this character’s trials and tribulations is absolutely apparent and his physicality is on point. He exudes the yearning to belong in Yank and his delivery of the text is natural and poignant. Overall, he gives a phenomenal performance that is certainly the one to watch.

Michael Leicht. Photo: Spotlighters Theatre / Shaelyn Jae Photography

Final thought…The Hairy Ape is an intense, poignant piece of theater that touches on class distinctions, nature vs. nurture, and trying to find out where we belong in the world. Written in the 1920s, this story is still relevant today as we all are trying to find where we fit in and break the glass ceiling of class structures. This production is well put-together with a strong, dedicated ensemble that is not afraid to get in the faces of the audience. The performances are moving and authentic and pull the audience in from the start. With great technical aspects such as lights and sound to help tell the story, this is definitely not a production you want to miss this season.
This is what I thought of SpotlightersTheatre’s production of The Hairy Ape… What did you think? Please feel free to leave a comment!
The Hairy Ape will run through November 19 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For tickets call the box office at 410-752-1225 or purchase them online.
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Review: Marx in Soho at Spotlighters Theatre

Posted on September 12, 2016 by Jason

By Jason Crawford Samios-Uy
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Running Time: 1 hours and 35 minutes with no intermission

Karl Marx. Credt: Public Domain

If I were to invite any deceased historic figure to dinner, Karl Marx would not have been my first choice. Actually, he probably wouldn’t have even crossed my mind but after experiencing Spotlighters Theatre latest offering of Marx in Soho by Howard Zinn and directed by Sherrionne Brown and starring Phil Gallagher, I think Mr. Marx could possibly make my Top Five (of whom currently includes Mozart, Joan Crawford, Karen Carpenter, Abraham Lincoln, and Walt Disney, but I haven’t a clue of who would be bumped).
I admit… I walked in thinking this piece thinking it was going to be uber-political and argue the pros of Marxism and Communism and, with the political climate being what it is in the country at the moment, I rolled my eyes and settled in for the long haul. I can also admit my thinking was incorrect. Though this piece did touch on a many of Karl Marx’s ideas, it was not so much political as it was a piece showing Marx in a different light. He is usually thought of as a revolutionary, trouble maker, or rabble rouser but Zinn’s piece expressed his softer side; his life as a family man and his love and adoration for his wife and children (of which only three lived into adulthood). It shows a Marx who can admit when he is wrong and came back from the dead to express to the world that his ideas are different to the ideals of Communism that Lenin spouted out and that he wasn’t so stubborn that he couldn’t debate (sometimes heatedly) different ideas with friends and colleagues. Zinn manages to reveal Marx’s positive achievements rather than concentrate on the negative connotations of his life and work.
I certainly have my own ideals, politically and otherwise, as we all do, but I’m glad I was able to attend this production of Marx in Soho as it enlightened me, made me think, and reminded me that there are many different angles to folks that we must consider before passing any type of judgment. This piece wasn’t a lesson on Marxism or Communism, but a look into the life of a man who had his own ideas and way of looking at the world and his courage to express them, regardless of any adversity. Zinn manages to balance out the history and the entertainment in his script and it blends together beautifully.

Credit: Spotlighters Theatre/Shaelyn Jae Photography

Spotlighters is a unique space, to say the least. It’s theatre in the round, which is always challenging and to add to that challenge, they have four pillars on each corner of the stage of which they have to contend but Spotlighters has not disappointed, yet! The production teams for each show manage to use the space to maximum efficiency, and this production is no different. The Set Design by Director Sherrionne Brown is minimal, with a desk, a couple of chairs, and a stool, but it all comes together perfectly. It’s the set decorations of old photos of historic figures such and folks from Marx’s life add a sense of familiarity, like we’re sitting in Marx’s parlor or study, as a guest or old friend, listening to him as he talks about his ideas and writings.
Lighting Design by Fuzz Roark was very subtle but that’s exactly what is needed in this piece. His use of brightness levels are barely noticeable but add depth to the performance as the lighting seems to change with Marx’s changing moods from fiery revolutionist to loving husband and doting father and add great production value to the piece. The imitation thunder and lightning are perfect transitions and stop signs for the character of Karl Marx when he gets a little too saucy or political.
Director Sherrione Brown uses this space wisely and keeps her actor moving fluidly as to not ignore any part of the audience that surrounds him. Her guidance, along with the natural instincts of Phil Gallagher, brought Karl Marx to life right before my eyes and the nuances of the character, including the look, gestures, and facial expressions set me at east, as an audience member looking in. The Set Design complimented the performance and Brown is to be commended for her thought-provoking work on this piece.

Phil Gallagher as Karl Marx. Credit: Spotlighters Theatre/Shaelyn Jae Photography

Phil Gallagher as Karl Marx. Credit: Spotlighters Theatre/Shaelyn Jae Photography

Phil Gallagher as the titular character of Karl Marx is an absolute joy to watch. Performing in a biographical piece has its own set of challenges but Gallagher completely nails this role and gives an outstanding performance. From the moment he steps on stage, one cannot help but notice the striking resemblance Gallagher has to a young(er) Marx (a little different from the common white bushy bearded, older Marx). The Costume Design by Andrew Malone is spot on and very appropriate for the time in which Marx lived and for this piece. Gallagher is very comfortable both in his wardrobe and on the stage, having a strong command and he moves smoothly around making sure he gives attention to all sides of his audience. To be honest, Gallagher has completely changed the way I envisioned Karl Marx that was formed from what I’ve researched about him and from the stern photographs I’ve seen. Gallagher’s very authentic performance makes Marx approachable and downright likeable and though this may have something to do with the script, it is mostly because of the friendly feel I get from Gallagher. He is so natural in this role, there were many times I completely forgot there was a script involved. His German accent is on point and he, impressively, holds it throughout the entire performance, adding a realism to the performance. Gallagher seemed to have really understood the man he was portraying and it showed through in his strong, confident performance. Major kudos to Phil Gallagher for this exceptional performance as Karl Marx.

Phil Gallagher as Karl Marx. Credit: Spotlighters Theatre/Shaelyn Jae Photography

Final thought… Marx in Soho is a show that makes me see things from a different angle and appreciate another view. In these crazy times of this crazy United States Presidential election, I’m glad that I was reminded that this is very important. This piece portrays another side of a man who is commonly seen in a negative light and makes him more familiar and approachable. Whatever ideals you may have, Marx in Soho is an enlightening, provocative look into the life of a man who, in the end, just wanted the world to be a little better for everyone.
This is what I thought of this production of Marx in Soho.… what do you think?
Another point of view: The Bad Oracle’s review of Marx in Soho
Marx in Soho will play through September 18 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD 21202. For tickets, call the box office at 410-752-1225 or purchase them online.

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

Posted on July 18, 2016 by Jason

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.

(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.

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

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.