Spamalot Review, May 2017 - NODA

Monty Python’s Spamalot is described as “A new musical lovingly ripped off from the motion picture Monty Python and the Holy Grail from the original screenplay by: Graham Chapman, John Cleese, Terry Gillian, Eric Idle, Terry Jones and Michael Palin – and that’s exactly what it is.   It’s a highly irreverent version of Camelot and sticks – very loosely – to the Arthurian legend.  It’s pointless, puerile, spoofy and silly but also enormously funny and has happiness coursing through every scene. It's xenophobic, homophobic and blasphemous but good-natured and a huge amount of fun and I loved it. 

Colin Flaherty as King Arthur and Richard Bond as Patsy

The set: village scenes, castle etc were effectively created of high quality and cleverly designed.  There was minimal disruption during the scene changes.  Great and convincing use of props, especially the wooden bunny. 

The costumes were excellent: bright, bold and larger than life with great attention to detail and were in keeping with the characters and story.

The lighting was very effective. The sound was excellent with voices clear and blended well with the live music.  All the songs were sung enthusiastically. Lady of the Lake, Kirsty Kingham was simply stunning as she belted out her numbers including (one of my favourites) “The Diva’s Lament” and “The Song That Goes Like This” (with David Izzo, Sir Galahad).

The Song That Goes Like This with David Izzo and Kirsty Kingham

Ed Branch as the French Taunter

Director, Gary J Myers, demonstrated his talent as he drew great performances from this large and versatile cast.  The music, led by Neil Streeter, created a solid sound giving the performers superb lead.  The show worked well due to the chemistry and strong performances not least by Colin Flaherty (as King Arthur) and his Knights of the Round Table. Richard Bond as Patsy (King Arthur’s side-kick) provided great support complete with horse clopping sound effects from a pair of coconut halves. There was lots of spectacle and hilarity from the French Taunters (Ed Branch on top form) to the routines and songs taking the mickey out of other musicals (I spotted quite a few including 42nd Street and Chicago). The principals had a terrific ensemble around them.  I enjoyed the variety and changes of style and atmosphere. The comedy was fast paced and very off the wall but clever and everyone had a chance to shine. BATS audiences expect high production values and they were not disappointed. Congratulations to the production team, led by Colin Webb, whose hard work, in this instance, led to a polished show that was full of memorable and hilarious moments.

Chris Horton

Spamalot Review, May 2017 - The Southern Daily Echo

Director and choreographer Gary J Myers immaculate version of the musical-pythonesque Spamalot would not look out of place on the West End professional stage.

With an energetic and vibrant ensemble and perfect casting in both cameo and principal roles, this show was so full of detail in dialogue humour, costume, lighting, sound and scenery that "faultless" would almost be too bland a description to encompass all that could be said.

Richard Bond as Patsy

There were standout performances throughout, but special mention must be given to Colin Flaherty as Arthur, Richard Bond as Patsy, David Izzo as Sir Galahad and the diva to out diva all others, Kirsty Kingham as Lady of the Lake.

Neil Streeter conducted a note perfect band full of pizzazz and cast interaction. Highly recommended to Python and musical theatre lovers everywhere.

David Putley

David Izzo as Sir Galahad and Kirsty Kingham as Lady of the Lake

Spamalot Review, May 2017 - Basingstoke Gazette

The perfect escape for the world-weary currently awaits local audiences in The Haymarket. BATS have staged the Monty Python musical Spamalot – the first local production of this smash-hit show - and their sublime slice of silliness is a genuinely laugh-out-loud treat.

First time director / choreographer Gary J Myers has bitten off a lot, but it’s certainly not more than he can chew. In fact, what he has served up is quite wonderful! He’s ably assisted by Neil Streeter as musical director.

Spamalot is the tale of King Arthur (a suitably regal Colin Flaherty) and his band of knights, and their quest to find the Grail / stage a musical in Basingstoke.

Along the way they encounter surly peasants, the French, the Knights of Ni, the irrepressible Black Knight, flying cows and the rest.

The show is a huge challenge for all departments – sound, props, wardrobe and lighting – but the society has multi-tasked to the max to achieve something quite special. 

Colin Flaherty as King Arthur (Centre), Richard Bond as Patsy (Centre Left) and some Knights

BATS’ talented actors also showcase their adaptability by demonstrating serious comedic ability and timing. Some of their stalwart performers (Ian Moseley, David Izzo) are a revelation and supporting players also do wonderful work in smaller parts: Ed Branch (French taunter), Tracey Gonzato (head minstrel), Stuart Baker (Dead Fred) and Grant Foyle (Kevin) are all fantastic. 

Izzo, Nick Brannam and Pete Chandler are hysterically funny throughout the plotline about Prince Herbert whilst a brilliant Kirsty Kingham demonstrates divine comic delivery – and boasts terrific vocals - as the Lady of the Lake, hilariously snarling “Whatever happened to my part” during The Diva’s Lament.

Nick Brannam (Left) as Prince Herbert and Pete Chandler (Right) as Lancelot

Well done to the rest of the company, too, who whizz on and off in various outfits constantly, singing, dancing, nailing punchlines and doing whatever else the show demands.  

It goes without saying that Python fans will be in heaven but there’s lots of general fun to enjoy, including references to other famous musicals.  Other standout musical numbers include the Knights of the Round Table, You Won’t Succeed in Showbiz and His Name is Lancelot. 

Only the hardest heart could resist joining in with the final sing-along to Always Look on the Bright Side of Life, so partake of Spamalot’s cheeky joy while you can. You’ll feel much better afterwards!

Joanne Mace

The Full Monty review, Nov 2016 - Basingstoke Gazette

Director and choreographer Martyn Knight returns to The Haymarket this month after his award-winning BATS production of Sister Act.

He and his team, including musical director Julie Dance, now have something new for Basingstoke audiences, namely their 1980s-set version of the amateur stage treatment of the 1997 film The Full Monty, the hugely popular tale of a group of Sheffield blokes who reclaim some of their lost power and dignity by, ironically, getting their kit off. 

Its message remains pertinent, and its combination of politics and comedy may prove a welcome tonic for many after the roller coaster of the year so far. 

The men performing the opening number, 'Scrap'

The girls performing 'It's a Woman's World'

Kathy May-Miller is also terrific as the characterful piano player who supports the men through their dreadful early rehearsals. 

Martyn, in addition to the rest of his good work, cleverly uses his supporting cast to become the whooping audience at certain points.  

His show is obviously one for the adults due to the language and nudity (bare bottoms) but those appropriate audiences who do attend will surely find their spirits lifted by its cheeky charm!

Joanne Mace

The action takes place in the US, but retains the core message. And where the original made great use of pop songs such as You Can Leave Your Hat On, this treatment boasts all-new numbers by David Yazbek and Terrence McNally.

It’s hats off to the brave local amateur actors who dare to bare (their blushes spared at the key moment by clever lighting design) on stage for our entertainment: Paul Morris, John Eddie, Richard Bond, Ian Moseley, Bryn Hughes and Tim Bell.    

Some are unconventional leading men, but all are fully deserving of the spotlight, communicating the frustrations of these individuals (frustrations sometimes expressed through their language) and winning over those watching in both the comic and the more serious scenes. 

Gavin Brooker also deserves a mention for his bravery in the role of the performer who originally inspires the men and whose stripping routine opens the whole shebang. 

But the boys don’t have it all their own way throughout, as the show includes some lovely moments for the girls to shine; Holly Reedman, Sally Manning and Laura Newborough are brilliantly effective as the present and former spouses trying to support their men in crisis.

The Full Monty review, Nov 2016 - NODA

The Full Monty is the Americanised version of the hugely successful film of the same name.  BATS have chosen the Broadway version of the show where the action moves from Sheffield to Buffalo, New York.  It tells the story of six struggling steelworkers.  In order to make ends meet they decide to learn to dance and strip i.e. to do The Full Monty – i.e. everything off!

The men performing the finale

After the strip!

The girls performing 'It's a Woman's World'

The set: street scenes, interiors were effectively created and of high quality and cleverly designed. The “Gents” toilets at the club was ingenious.   There was minimal disruption during the scene changes.  Great and convincing use of props.  

The costumes were excellent, with great attention to detail and were in keeping with the characters and story.   And this wasn’t just the strippers’ costumes – much thought had gone into the costumes for the women, showing their sassy side – many items being tight and bright!

The lighting was superb: rising and dimming when necessary, and the blinding flash of backlight at the pivotal moment was perfectly timed.    Most of the sound was excellent with voices clear and blended well with the live music.  My companion and I both felt that the screaming of the excited women (at the prospect of a stirp show) at the opening of the show was at an uncomfortable level and pitch. 

Director and Choreographer Martyn Knight demonstrated his experience and talent as he drew great performances from the entire cast. This was a great example of ensemble performance.  The six strippers, led by Paul Morris as Jerry, brought great warmth to their characters as men who found friendship and self-respect through the group.  Kathy May-Miller was simply stunning as Jeannette, the chain-smoking piano player drafted in to accompany the strippers.  Gavin Brooker deserves special praise having the difficult job of opening the show with a strip – a challenge he rose to with seeming ease.     The music, under the direction of Julie Dance , created a solid sound giving the cast superb lead.  The show worked well due to the charisma of the leading men with a terrific ensemble supporting  them.  There were no weak links in this show that had was more to it than stripping men and screaming women: depression, fathers’ rights, homosexuality, unemployment and suicide – all covered with toe tapping songs and dances to the obvious delight of the audience. 

Chris Horton, District 14 Regional Representative