Spamalot

 Spamalot
St. James Theatre
December 2, 2023 

Photo courtesy of Spamalot

The Broadway revival of Monty Python’s Spamalot is over the top fun!  Director/choreographer Josh Rhodes has a strong handle on the material, keeping the pace moving quickly and the physicality precisely timed.  The scenic and projection design by Paul Tate de Poo III is brilliantly conceived and meticulously accomplished.  The cast works as a tight ensemble, delivering high energy performances with flawless consistency in humor and style.  

King Arthur (played by understudy Graham Stevens) is in search of knights for his round table.  He first meets Dennis Galahad (played by Nik Walker), who questions Arthur’s authority.  Arthur tells him of when he met the Lady of the Lake (played by Leslie Rodriguez Kritzer), received Excalibur, and took his rightful place as King of England.  Dennis is convinced, and knighted Sir Galahad.  Robin (played by Michael Urie) is interested in joining King Arthur’s round table, but is leery of the fighting it requires.  Lancelot (played by Taran Killam) guides him, and they both become knights.  With the addition of Sir Bedevere (played by Jimmy Smagula) the band of knights is complete.  When Arthur has an inspired vision, he and his knights set out on a quest to find the holy grail.  The journey is rough, full of surprises and challenges.  Arthur and his knights are forced to dig deep and find their truths.  

King Arthur & his band of knights
Photo courtesy of Spamalot

Graham Stevens (understudy) is commanding as King Arthur, gallantly leading his knights on their quest.  Michael Urie is witty and charming as Sir Robert.  His comic timing is impeccable.  Taran Killam is fearless and funny as Sir Lancelot.  His comic ability ranges from subtle humor to over the top bawdy.  Nik Walker is strong and bold as Sir Galahad.  He also plays the Black Knight and Prince Herbert’s Father.  All these roles are fierce and menacing.  Leslie Rodriquez Kritzer is alluring as the Lady of the Lake.  She is a vocal powerhouse.  

The Lady of the Lake
Photo courtesy of Spamalot

Ethan Slater plays numerous roles.  He keeps the narrative connected as the Historian.  The physicality of his character Not Dead Fred is perfect.  His portrayal of Prince Herbert is clever, sharp, and allows the plot to take an unexpected turn.  Christopher Fitzgerald is hysterical as Patsy, King Arthur’s side kick.  His presence is steady, and his physicality is brilliant.

If you want a boisterous good time, go see Spamalot at the St. James Theatre.  It will leave you feeling uplifted and positive, a feeling that can benefit us all. 

Domenick Danza

Grand Horizons

Grand Horizons

Second Stage Theater

The Helen Hayes Theater

December 29, 2019

Photo courtesy of Second Stage Theater

In Grand Horizons playwright Bess Wohl examines the need to be seen and acknowledged amid a “typical” family dynamic.  As the family matriarch expresses her feelings and voices her need, each family member ends up demanding all the attention.  The all-star cast delivers fine performances, illustrating the need for openness and honesty in family relationships.  Ms. Wohl’s characters are well crafted and fully developed.  Her plot packs a few fun surprises. 

The Cast of Grand Horizons
Photo courtesy of Second Stage Theater

Nancy (played by Jane Alexander) and Bill (played by James Cromwell) silently prepare dinner.  They sit down, take a few bites, then Nancy calmly announces she wants a divorce.  Bill consents.  In the next scene we meet their sons, Ben (played by Ben McKenzie) and Brian (played by Michael Urie).  Brian is high strung and finds it hard to believe that after fifty years together his parents are not happily committed to the marriage.  Both sons feel they carry the weight of the responsibility for their aging parents.  Ben researched and put the money up for his parents to move into Grand Horizons, their retirement community.  Ben’s wife, Jess (played by Ashley Park), is eight months pregnant and utilizing her professional skills as a therapist to keep everyone calm and on track.  They are all trying to get their parents to move passed this dilemma.  Bill packs a van with his belongings and everyone seems to be going their separate ways, until Bill drives the van though the wall and into the kitchen.  Everyone is forced to face some unhappy truths.

Playwright Bess Wohl
Photo courtesy of Second Stage Theater

Jane Alexander and James Cromwell fill their silent moments with rich subtext.  Their physicality speaks volumes, creating full characters with years of history between them.  Michael Urie is energetic and delivers the laughs, keeping the pace moving.  Ashley Park and Ben McKenzie have a great chemistry as expectant parents.  Each cast member gets a chance to shine as their character reveals a secret that unearths their long-denied need.  There are two sharp cameos by Priscilla Lopez and Maulik Pancholy. 

The Second Stage Theater production of Grand Horizons is playing at The Helen Hayes Theater through March 1.

Domenick Danza

Torch Song

Torch Song

Second Stage Theater

The Helen Hayes Theater

October 27, 2018

Photo courtesy of Second Stage Theater

I saw Torch Song Trilogy at what is now The Helen Hayes Theater thirty-five years ago.  I did not see Harvey Fierstein in the role of Arnold, but it was a memorable experience just the same.  What stands out for me watching the Second Stage Theater production of Torch Song, presently in previews on Broadway in the very same theater, is the writing.  Harvey Fierstein’s dialogue is astounding.  The way he unravels the action to reveal the depth of his characters is skillful and inspiring.  They state their hopes and dreams from the top of the show, then face their truths, fears, and obstacles to not only achieve them, but to accept them in the unexpected form in which they arrive.  Director Moises Kaufman has made the revisit of this phenomenal play a profound journey of hope, love, and self-respect.  

Michael Urie as Arnold
Photo courtesy of Second Stage Theater

The play begins backstage in 1972 as Arnold (played by Michael Urie) is getting ready for a performance.  He is a drag queen.  He shares his secret wish, then he meets Ed (played by Ward Horton), the International Stud of his dreams.  Over the next ten years we see Arnold’s rough and rocky journey of making his dreams a reality.  Ed struggles with his sexuality and decides to marry Laurel (played by Roxanna Hope Radja).  Arnold’s young boyfriend Alan (played by Michael Hsu Rosen) is killed in a gay bashing incident outside their apartment.  Arnold faces his greatest emotional challenge when he confronts his mother (played by Mercedes Ruehl) and tells her he is adopting a gay teenager named David (played by Jack DiFalco).

Ward Horton, Jack DiFalco, Michael Urie, & Mercedes Ruehl
Photo courtesy of Second Stage Theater

Michael Urie’s Arnold is full of guts and heart.  It is a truly phenomenal performance.  His character grows over the duration of the play, yet he never loses his sense of humor.  This is Arnold’s core, how he copes, survives, and thrives.  Ward Horton delivers a fallible, flawed, and extremely likeable Ed, who never stops yearning for more, even at the expense of others who care deeply for him.  He and Mr. Urie are remarkable together.  Their relationship is full of fire and sincere understanding.

Mercedes Ruehl is sold and stoic as Mrs. Beckoff, Arnold’s mother.  The love she feels for her son is matched only by her inability to see past what she cannot relate to or accept.  The confrontation scenes between Ms. Ruehl and Mr. Urie are brutal, overflowing with honesty, and driven by the mutual need for acceptance and self-respect.

Roxanna Hope Radja, Ward Horton, Michael Urie,
& Michael Hsu Rosen
Photo courtesy of Second Stage theater

Jack DiFalco delivers hope as David, the soon to be adopted gay son of Arnold.  His optimism  and humor are infectious and drive each of his scenes.  Michael Hsu Rosen and Roxanna Hope Radja create genuine moments as Alan and Laurel during the “Fugue in a Nursery” scene before the intermission.  Their presence is strongly carried forward into the final act whenever they are referred to, even though they do not appear. 

This is a remarkable cast, brilliantly directed in a timeless piece of theatre.  Go see the Second Stage Production Torch Song at The Helen Hayes Theater for a good laugh… and a great cry. 

Domenick Danza