Beyond the Bard

The Utah Shakespeare Festival includes both works by Shakespeare and works by other playwrights in each season’s selections. While in Cedar City for the festival’s summer 2011 season we saw matinee performances of three non-Shakespeare works at the Randall L. Jones Theatre, built in 1989.

The Randall L. Jones Theatre (Photo by Karl Hugh. Copyright Utah Shakespeare Festival.)

The first was “The Glass Menagerie” by playwright Tennessee Williams, the tale of a mother and two grown children still living at home. It’s set in 1937 St. Louis, which might feel world’s apart were it not for the opening monologue delivered by Ben Jacoby, who performs the role of Tom Wingfield. He makes clear the parallels between then and now, including tough economic times.

Ben Jacoby as Tom Wingfield in the Utah Shakespeare Festival 2011 production of The Glass Menagerie (Photo by Karl Hugh. Copyright Utah Shakepeare Festival.)

The second was “Noises Off!” by playwright Michael Frayn, who breaks the tale of actors performing in a British adult farce into three acts — showing a different perspective of how the farce “Nothing On” unfolds in each act. We see the actors, each with a host of personal and professional shortcomings, stumble through a final rehearsal and two jumbled performances (witnessing one as it unfolds backstage).

Melinda Parrett (left) as Belinda Blair, Betsy Mugavero as Poppy Norton-Taylor, Ben Livingston as Lloyd Dallas, Ally Carey as Brooke Ashton, and Jeanne Paulsen as Dotty Otley in the Utah Shakespeare Festival 2011 production of Noises Off!. (Photo by Karl Hugh. Copyright Utah Shakespeare Festival 2011.)

The third was “The Music Man,” based on a story by Meredith Wilson and Franklin Lacey. The musical features book, music and lyrics by Meredith Wilson. It recounts the tale of a traveling con man who makes a living selling musical instruments to parents who fear their children might otherwise discover darker pursuits like playing pool.

A scene from the Utah Shakespeare Festival 2011 production of The Music Man (Photo by Karl Hugh. Copyright Utah Shakespeare Festival.)

In each case, the comedy was simply exquisite. It helps to start with great material, I suppose. Quinn Mattfeld, who performs the role of Garry Lejeune in “Noises Off!,” delivered one of the best comedic performances I’ve ever seen. I ran into Mattfeld before Friday evening’s performance of “A Midsummer Night’s Dream” (another comedy honed to perfection by festival actors and artistic staff) and asked about how such a fabulous bit of funny comes to be.

Quinn Mattfeld (L) as Garry Lejeune and Ally Carey as Brooke Ashton in the Utah Shakespeare Festival 2011 production of Noises Off! (Photo by Karl Hugh. Copyright Utah Shakespeare Festival.)

Mattfeld gives playwrights at least half the credit, noting that directors and actors make up the balance of the mix. True magic happens on stage when the best writing meets the best direction and acting. Other artistic elements contribute too — choreography, costumes, props, lighting, sound and such.

Laura Griffith (L) as Marian Paroo and Brian Vaughn as Harold Hill in the Utah Shakespeare Festival 2011 production of The Music Man (Photo by Karl Hugh. Copyright Utah Shakespeare Festival.)

Each of the six productions we saw at this year’s Utah Shakespeare Festival appeared both flawless and effortless. Attention to detail is evident at every level, as is thinking beyond the boundaries of what you might imagine for any given scene or production. It’s these qualities that make each work fresh, even for those of us who have seen them performed time and time again.

— Lynn

Coming up: More Shakespeare on Valley stages, Who let the “CATS” out?, National Youth Arts Awards, Bugged out!

Find your grail

In one of the few semi-serious moments during the musical “Monty Python’s Spamalot,” the cast sings a song about finding your grail. It’s hard to relate to because, frankly, I’m satisfied most days with simply finding my mail.

Lizabeth and I have long had tickets to see “Monty Python’s Spamalot,” which is being presented by Theater League at the Orpheum Theatre in downtown Phoenix through Sunday.

I may have stumbled onto Monty Python a bit too early in life to really get the gag, so I can’t say that I was a huge fan going into this show. But my appreciation for the offbeat humor has grown since seeing “Monty Python’s Spamalot.”

Though the comedic elements differ, this show reminds me in many ways of “Joseph and the Amazing Technicolor Dreamcoat.” Just add in plenty of references to gay men and Jews, and props such as herring.

Loved the lively music, colorful costumes and bright, shiny lights. Loved the references to pop culture from Britney Spears to Lady Gaga. Loved the scenes spoofing other musicals (I won’t name names). Loved Sir Robin (Martin Glyer) and The Lady of the Lake (Caroline Bowman).

I don’t know that I’ve ever laughed as much, or as loudly, as I did throughout this performance. Folks sitting nearby would be asking for refunds had they not been suffering from a similar affliction. Plus, as a character notes during the show: “What happens in Camelot, stays in Camelot!”

Before the curtain came up on Act I, a Theatre League representative announced their 2011-2012 season — which includes “The Wizard of Oz,” “The Rat Pack is Back,” “My Fair Lady,” and “Grease” (plus some other goodies you’ll find noted on their website).

He also announced that students from a local high school were in the house (there to support a teacher all duded up with knight gear for a brief bit in the show). I chatted with four of the students during intermission, who eagerly told me about their spring musical (“The Music Man”) and the school’s theater program.

One especially articulate student in particular impressed me with her poise, confidence, professional demeanor and genuine enthusiasm for musical theater.

I invited her to submit a guest blog for possible online publication, so watch for her review during the next day or two. She’s a repeat “Spamalot” offender who really seems to know her stuff — and I’ve no doubt she’ll one day capture her grail.

As I drove home from the show, Lizabeth leaned against the front passenger-side car door and fell asleep while clutching her purple “I’m Not Dead Yet” T-shirt.

When we pulled into our driveway, a single glance in her direction reaffirmed what I’ve long known.

I’ve already found my grail.

— Lynn

Note: Spamalot contains adult language and situations, so this one is not for the kiddies (who might also miss the humor in the show’s “killer rabbit”).

Coming up: Searching for Seussical, Scottsdale Conservatory Theatre, What’s up with one-acts?

Got Spam?

"Spamalot" opens tonight (Feb 15) at the Mesa Arts Center

You can “Spamalot” this week as Theater League brings the 2005 Tony Award winner for best musical to Mesa and Phoenix stages.

“Spamalot” creators say the musical — complete with cows, killer rabbits, show girls and french people — is “lovingly ripped off from the classic film comedy Monty Python and the Holy Grail.”

It’s a very grown-up take on the legendary tale of King Arthur and his knights of the Round Table, though the legend may be fading fast in the absence of disco versions of knight battles made for various home and pocket entertainment systems.

Even worse perhaps, is the fact that so few of our children have ever met a can of actual Spam, a product of the Hormel Food Corporation. It faded from popularity as things like sushi and arugula marched in, but I think a Spam-sushi mash up of sorts might be fun.

The fine folks of “Spamalot” will gladly take you through the tale of King Arthur’s quest in a little online ditty titled “What is all this rubbish?” They also make a convincing case for “Spamalot” as the world’s oldest musical.

The “Spamalot” you’ll see on Valley stages this week features book by Eric Idle and score by Eric Idle and John Du Prez. Hence you’ll enjoy both words and music in addition to dancing knights in tights.

But what, you may be wondering, is a Monty Python? And has it anything to do with that “Flying Circus” of yore? It does indeed, as explained ever so eloqently by a BBC piece you can enjoy by clicking here.

Whether you’re a lover of musical theater, of British comedy or of unadulterated genius, check out the touring production of “Spamalot” at the Mesa Center for the Arts and/or the Orpheum Theater in Phoenix.

And always look on the bright side of “Spam.”

— Lynn

Note: Click here for an overview of the legends of King Arthur by Michael Wood for the BBC.

Coming up: Reflections on Rosie’s House, The fine art of stage combat, ASU Gammage readies to unveil its 2011-2012 season, Tales of Tom Chapin