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.

Email us at backstagebaltimore@gmail.com

Like Backstage Baltimore on Facebook

Follow us on Twitter (@BackstageBmore) and Instagram (BackstageBaltimore)

Review: Bye Bye Birdie at Artistic Synergy of Baltimore

By Jason Crawford Samios-Uy

Running Time: 2 hours with one 15-minute intermission

The Cast of Bye Bye Birdie. Credit: Artistic Synergy of Baltimore


The 1950s was an interesting, white picket fenced, bobby socked, and black and white time in America and, though problems were bubbling under the surface, it was a simpler time. Elvis Presley broke through with his pelvis-shaking rock and roll, but there was still a certain innocence to his bad-boy persona and we couldn’t get enough. Artistic Synergy of Baltimore’s latest production, the classic Bye Bye Birdie with a Book by Michael Stewart, Music by Charles Strouse, and Lyrics by Lee Adams, takes us back to that bygone era and to a small town to give us a taste of nostalgia and a peek into 1950s suburbia. Bye Bye Birdie is Directed by Jeff Baker (who may or may not have been the Music Director, as well, since a Music Director is not listed in the program), with Choreography by Suzy Hasselbush, Set Design by Colby Aerford, Daniel DeJong, and Stanton Zacker, and Costumes by Amy Rudi.
Set Design by Colby Aerford, Daniel DeJong and Stanton Zacker is innovative, considering the space they had to work with. Artistic Synergy of Baltimore certainly doesn’t have the smallest stage in Baltimore, but it is still an intimate space and the use of spinning flats for different scene settings is practical and efficient. They don’t clutter the stage too much with set pieces but a few well-placed items give the idea of where the action is taking place and leaves space for the large cast. The painting and detail work by Ann Pallanck and Amy Rudai expresses the time period very nicely with bright, light colors and sets the mood nicely. The minimal, but appropriate Set Design adds value to this production, as a whole.

The Cast of Bye Bye Birdie. Artistic Synergy of Baltimore


Amy Rudai also took on the duties as Costume Designer and this aspect of the production is certainly a highlight. Rudai’s attention to detail is impressive and instead of going with the usual poodle skirts, saddle shoes, and cardigans, she manages to give us an authentic representation of the time in which this piece is set with below the knee knitted skirts, plain white athletic shoes for the young ladies, and plain jeans, Jack Purcell-looking shoes, and t-shirts/sweaters for the young gentlemen and suits and dresses for the adult cast. The Conrad Birdie costume could have had a bit more pizazz and glamour rather than looking like an ordinary “greaser” and the wardrobe for Rosie Alvarez look a bit out of place (I keep thinking 80s for some reason – could be the broad shoulder jackets) and a particular costume in Act II for “Spanish Rose” is unnecessary but overall, the costume choices are spot on and Rudai’s work is impeccable.
Choreography by Suzy Hasselbush is charming and appropriate for her cast. It’s obvious she knows her cast and has choreographed accordingly which is of the utmost importance for any choreographer. Now, that’s not to say anything is dumbed down for this cast. There are some impressive numbers including the opening “The Telephone Hour” and the trio for “Put on a Happy Face.” Hasselbush’s work lights up the stage and keeps this piece interesting.

The Cast of Bye Bye Birdie. Artistic Synergy of Baltimore


Baltimore theatre veteran Jeff Baker takes on Direction of this production and does a superb job. He understands the piece well and even though it’s musical comedy and poking fun at 1950s middle America, he takes it just seriously enough to tell the coming of age story in a meaningful way. He doesn’t shove the fact of the 1950s down our throats with clichés and obvious bits, but let’s the story unfold through the script and the performances. His casting is decent and he’s given us a well thought-out production.
Since no Music Director is listed in the program, I’m going to assume Mr. Baker took on those duties as well, knowing he has taken on this role in numerous productions in the past. The ensemble, as a whole, sounds fantastic and they blend well and harmonize together beautifully. The musical numbers are well rehearsed but it is unfortunate that it was decided to use canned music for this production (that’s recorded music, for those who might not be in “the know”). Bye Bye Birdie has such a wonderful score, it may have been nice to hear a live orchestra playing along supporting this dedicated ensemble. There were some hick-ups, skips and missed musical cues for actors that may have been smoothed out if a live orchestra and conductor were in attendance, but overall, the cast was ready and worked well with the recorded music.

Jennifer Hasselbush and Stanton Zacker. Artistic Synergy of Baltimore


Moving into the performance aspect of Bye Bye Birdie, Stanton Zacker and Jennifer Hasselbush take on the roles of Harry and Doris MacAfee, the poor, defeated parents of Kim MacAfee and Randall MacAfee, with the former having been chosen to give heartthrob Conrad Birdie one last kiss before being shipped off to the Army. Both of these actors were dedicated and comfortable with their roles and portrayed them nicely. Hasselbush somehow embodied a mother of the 1950s and is very authentic in her interactions with her family making for a strong performance. Zacker is a bit scripted and lets some golden one-liners zoom right past but he is still believable as the frazzled father of a teenaged girl and his chemistry with his fellow cast mates is strong. Vocally, Zacker is impressive, as is Jennifer Hasselbush. In numbers such as “Hymn for a Sunday Evening” and the popular and standard “Kids” they were entertaining and gave very respectable performances.

Matt Peterson as Conrad Birdie. Artistic Synergy of Baltimore


The role of Conrad Birdie… the Birdie of Bye Bye Birdie, is tackled by Matt Peterson and he gives a good showing of the heartthrob, pop icon, Elvis Presley-esque character but, overall, I would have liked a little more suave, brooding, sex appeal and charisma. Yes, again, it’s a musical comedy, but if you’re gonna play a character inspired by Elvis Presley… work it, especially the charisma! The costume may have had a hand in it as well, as stated before, being dressed in just some jeans, a t-shirt, converse shoes, and a leather jacket. He looked more like a T-Bird from Grease than the most famous man in the country. However, that being said, Matt Peterson does NOT give a terrible performance does an admirable job in this role. He is dedicated to this role and certainly looks the part. He’s comfortable and does have a strong stage presence as well as a terrific, albeit soft, voice.

Melissa Broy Forston as Mae Peterson. Artistic Synergy of Baltimore


Melissa Broy Forston takes on the hilarious role of Mae Peterson, the helicopter mom (when helicopter moms weren’t cool) who hounds and guilt trips her adult son into seeing things her way. Forston takes this role and hits the ground running. She’s confident with a strong stage presence and her comedic timing is splendid. She understands this character and the humor and embraces both giving a strong performance.

Hunter Lubawski as Kim MacAfee. Artistic Synergy of Baltimore


Hunter Lubawski takes on the role of Kim MacAfee, the sweet, naive teenager who wants to grow up too fast. Lubawski is cast perfectly as this character and she’s comfortable in this role. She gives a worthy vocal performance and is radiant in her numbers such as “How Lovely to Be a Woman” and “One Boy,” exuding that innocence and tenderness this character requires and her transition from young child to young woman is subtle but certain and her performance is commendable.

Olivia Winter as Ursula Merkel. Artistic Synergy of Baltimore


Often, you’ll see a performer in a supporting role who just stands out in a production and in this production that performer is Olivia Winter as Ursula Merkel, Kim’s fanatic, loyal, and number-one-Birdie-fan. Winter is definitely a highlight of this production because of her enthusiasm and dedication to her role. She’s got a beautiful voice that is highlighted in numbers such as “The Telephone Hour” and her character choices for this role are near perfect. She shines during ensemble numbers like “A Normal American Boy” and “Honestly Sincere” with her natural and confident performance. I’m looking forward to seeing future performances from this young actress.

Alana DiSabatino as Rosie Alvarez. Artistic Synergy of Baltimore


Taking on the role of Rosie Alvarez, the loyal, love-lorn, secretary, and girlfriend of Albert Peterson is Alana DiSabatino. DiSabatino has a good command of the stage and does an admirable job with this challenging role and seems quite comfortable and dedicated. She understands her character and embodies the objectives and wants of Rosie, namely, becoming Mrs. Albert Peterson. She certainly entertains and keeps things moving in solo numbers including “What Did I Ever See in Him” and (especially) “Spanish Rose” though, the costumes and choreography might take away from the exceptional vocal abilities of this talented actress, leaving her breathless, at points. Overall, DiSabatino gives a praise-worthy and thoroughly entertaining performance.

Seth David as Albert Peterson. Artistic Synergy of Baltimore


Last but not least, Seth David as Albert Peterson, who is a standout in this piece. Though he may not look like the clean-cut, suit and tie gentleman of the mid-century business man with his modern looking long hair pulled back into a pony tail, he still embodies all the qualities and insecurities of this character. He works well with both Melissa Broy Forston as his overbearing mother and Alana DiSabatino as his pushy, but patient girlfriend, balancing his characters interaction between the both of them. His transition is seamless from a dedicated, allegiant son to a confident, independent man is believable and he manages to keep the character likable throughout. Vocally, David is a powerhouse and performs his numbers such as “Put On a Happy Face” and “Talk to Me” near perfectly with an impressive grasp of the choreography given to him making for a superb performance.

Seth David and Alana DiSabatino. Artistic Synergy of Baltimore


Final thought…Bye Bye Birdie is a fun, lighthearted piece that’s perfect for community and small theatres and Artistic Synergy of Baltimore gets it right with this production. They have a very dedicated and talented cast and crew and the production is well-thought out with a good pacing. Aside from the canned music, the cast handles the material well and they make this classic, often-produced piece their own making for an enjoyable evening of theatre.
This is what I thought of Artistic Synergy of Baltimore’s production of Bye Bye Birdie… What did you think? Please feel free to leave a comment!
Bye Bye Birdie will play through March 19 at Artistic Synergy of Baltimore, Prince of Peace Lutheran Church, 8212 Philadelphia Road. For tickets, call the box office at (410) 288-4281 or purchase them online.
Email us at backstagebaltimore@gmail.com
Like Backstage Baltimore on Facebook
Follow Backstage Baltimore on Twitter (@backstagebmore) and Instagram (backstagebaltimore)

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

by Jason Crawford Samios-Uy
spam resize (Page 1)
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.

DSC_0125-600x401 (1)

(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.
DSC_0084-600x401

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.