“Dial M for Murder” at Ocean State Theatre

by Richard Pacheco

            It is pleasant enough usually ably acted and evenly directed and if there are nay issues with it, it lies with the play itself and its flaws. The play was written by written by English playwright Frederick Knott, whose work often focused on women who innocently become the potential victims of sinister plots. The play premiered in 1952 on BBC television, before being performed on the stage in the same year in London's West End in June, and then New York's Broadway in October. It was later made into the 1954 American crime thriller film directed by Alfred Hitchcock

            The tale revolves around an ex professional tennis star Tony Wendice and his socialite wife, Margot. After a chaotic schedule that his wife bitterly complaints about,  and she begins an affair with an American television writer, Tony decides to retire from the tennis circuit.

            Drew Anthony Allen is the stuffy Brit, Tony Wendice who wants to do away with his wife to inherit her fortune.  Wendice is aloof with the nearly cliché stiff upper lip attitude of the British. At times however, Allen seems too aloof and above it all and without any passion or emotions at all. He appears separated from what is going on with his wife and the television writer, to aloof and distance to really care. He seems to be unable to muster any kind of rage to propel him to plot and murder his wife.

Aimee Doherty is his wife Margot, likewise stuffy and upper class British, a bit detached from her husband and reconnecting with him She struggles to deal with the British accent at times slipping and drifting out of it. There are times when she is not merely reserved but somewhat flat and without animation, too much stiff Brit

Rudy Sanda is Capt. Lesgate, Wendice’s long lost college buddy who gets blackmailed into committing murder for his old college chum. Capt. Lesgate is a sleazy man with a nefarious past full of dark secrets and criminal deeds, thought usually of the larcenous kind.

What gets to be the real treats here comes with Boston actor Bill Mootos as Max Halliday the television writer and Brandon Whitehead as Inspector Hubbard.

Mootos who was excellent in last season’s  “good People” at the Gamm shines here too. He is concerned and caring as the televisions writer who had a fling with the socialite.

A main saving grace to this production is the Inspector Hubbard, played by Brandon Whitehead.  Whitehead is a deft and smart combination of a kind of Colombo, and down to earth detective with the smarts and determination to solve the case, not matter what the odds. Whitehead is a delight as the disheveled somewhat gritty and gruff detective. He ably snags some Colombo touches to spark it all up which he does with  flair and sass.

Finally there is Jonathan Fisher as Thompson who is solid as the policeman.

Amiee Turner directs with a usually deft sense of pacing and mood and gets the best out of Mootos and Whitehead.

Katryne Hecht’s set is simply superb, at once elegant at times spooky and full of mood and atmosphere. David Sexton’s lighting design is brooding and mysterious, very effective and evocative.

The play itself has flaws and could have taken something from the writers of Colombo, yes I know it was first and their effective techniques. The set up in Act I takes far to long to come together. Both use the knowledge of the crime and the criminal from the beginning. Both use a clever detective to figure it all out and to prove it. The rest comes from the flatness of some of the performances, the utter lack of emotional nuance and presence.

            “Dial M for Murder” runs through Nov. 16 at Ocean State Theatre, 1245 Jefferson Blvd., Warwick. Tickets are $34-$49. Call (401) 921-6800, or visit oceanstatetheatre.org.

“Enron” at 2nd Story Theater

by Richard Pacheco

            The season opened at 2^nd Story Upstairs is British playwright Lucy Prebble’s intriguing look ant the Enron debacle of greed, arrogance, deception and corruption. The play tackles complex financial dealings with coherence, intelligence and biting humor, it can be fiercely funny at times. The acting by the large cast is superb, sharp, intelligent and vigorous, the characters deftly etched, brought vividly to life with great skill and finesse.

            The Enron fiasco is well known, being the highly publicized and touted as an example of corporate greed. “Enron” premiered at the Chichester Festival Theatre (11 July – 29 August 2009), before London transfers to the Jerwood Downstairs at the Royal Court Theatre from 17 September to 7 November 2009 and then the Noël Coward Theatre. It premiered on Broadway at the Broadhurst Theatre on 8 April 2010 in previews, with the official opening on 27 April. It takes a close look at the smoke and mirrors financial practices that led to the corporation’s downfall and the tragic effects it had on so many ordinary lives duped into the false security of the company’s rise to prominence.

            This tale of greed and arrogance, highlights the true culprits of the fiasco, the men and women behind it all who are so caught up with their own arrogance and smug sense of their own intelligence that they plunge ahead with reckless abandon in the face of their own personal frailties and flaws which compound the issues with greater intensities and increasing impending disasters in scope and depth. Once dubbed “America’s Most Innovative Company" for six consecutive years it tumbled clumsily and speedily downwards to bankruptcy and disaster through its creatively nefarious accounting fraud. The list of major banks involved is simply appalling and astonishing.

But this is not dry financial explanations, this is smart, savvy and sassy theater loaded with fireworks and caustic one liners. It is full of clever theatrical touches through the use of lights and costumes which make it fascinating to watch and compelling theater.

Tom Roberts is Ken Lay, the founder of Enron and its CEO.  He is a man who plays politics with finesse and skill, who believes in his company and its ability to rise to the top no matter what. He is not really focused on the realities of business bur remains in his mentally cloistered world where all is perpetually well. Roberts is excellent in the role, adept at making Lay’s self absorbed clueless attitude highly believable.

Ed Shea is Jeff Skilling, President, CEO and COO of this behemoth financial disaster, steering it to its inevitable end. Skilling is ruthless, self absorbed, egotistical and overly self confident believing in his own flawless ability to come out on top no matter what, including some quirky and questionable financial bookkeeping tricks. Shea is brilliant in the role, the perfect mixture of arrogance and visible flaws. His Skilling is self-absorbed and self assured to the point of arrogance with no concern for anyone but himself and his status. It is brilliantly articulated with chilling detail and finesse, making this sleazy man ability to convince others of this intelligence and rightness in his actions.

Ara Bohigian is CFO Andy Fastow who devises the nefarious accounting scheme that brings Enron’s world tumbling down on itself. Fastow began establishing numerous limited liability special purpose entities (a common business practice in the energy sector); however, it also allowed Enron to transfer liability so that it would not appear in its accounts, allowing it to maintain a robust and generally increasing stock price and thus keeping its critical investment grade credit ratings. Bohigian is perfect in the role, bristling with enthusiasm for his  clever if devious plans in accounting. Yet, he handles the transitions well when Fastow begins to realize this house of cards is beginning to crumble with disastrous effects for all concerned.  Bohigian display an element of sincerity and regret when needed in a totally convincing performance that is also filled with occasional humor.

Tanya Anderson is the only female executive in the mix, Claudia Roe, (Rebecca Mark-Jusbasche) who ends up being one of the few who display any integrity and moral compass whatsoever in this morass of greed and self-centeredness. She is smart, savvy and knows how to play in a man’s world with daring and ruthless determination to match theirs. Yet she knows when to walk away as well, dignity intact before it all comes tumbling down on everyone’s head. Anderson is excellent as the smart, sexy and savvy Roe.  She adroitly conveys the sense of intelligence and conviction she has at every turn.

The rest of the large cast, from lawyers to traders to the Koch Brothers and reporters fleshes this all out with skill and exuberance, never missing a beat. There is plenty to delight in here and it contuse throughout the production.

Director Trevor Elliot keens the entire thing relentlessly on track, barely allowing us to catch our breath in the audience. The pacing is fast and furious and perfectly on pitch. The set and lighting design by him is perfect and totally imaginative fitting perfectly into the production enhancing it and adding so much to it like the projected words which abound not only on the screens behind but engulf the actors on the floor and surrounding them.

Costume designer Ron Cesario shines here too, devising intelligent and clever solutions like his raptor heads and costumes for the rampant debt. The costumes add so much to it all.

You won’t want to miss this intelligent and articulate play that swarms with taut, clever humor throughout as well. If it has any flaw at all it is that the characters are for most part underdeveloped, but it seems like a necessary step with the complexity of the underlying financial issues which it makes abundantly clear and understandable throughout.

"Enron" (Oct. 9 – Nov.2)

2ND STORY THEATRE

@ 28 Market Street, WARREN RI

1(401)247 4200

“My Fair Lady” at Ocean State Theatre

By Richard Pacheco

            “Ocean State Theatre's "My Fair Lady" is a winning and wonderful production propelled by some strong voices, snappy and sassy dance numbers and a wonderful set. True the musical runs about three hours but the terrific performances make it worthwhile.

The classic Lerner and Lowe show is set in London in 1912 with the timeless tale of Professor Henry Higgins, an irritable, cranky confirmed bachelor who takes on the task of converting street flower vendor Eliza Dolittle into a lady devoid of her Cockney manners and accent. The musical is inspired by the George Bernard Show play, “Pygmalion” from 1914. The book and lyrics by Alan Jay Lerner and music by Frederick Loewe it takes a classic rags to riches tale merrily along with some great songs brought to life by some stunning performances that are sure to delight.

Jessica Wagner as Eliza Doolittle, the Cockney flower girl who blossoms into a lady is pure delight. She shows a mastery of the Cockney accent which she incorporates with skill and finesse, flawlessly. Her transition into proper English is exquisite and perfection itself as is her transition from street wise vendor into elegant lady with grace and style. She is not only a fine actress but she has an impressive voice as well which she uses with daring and flair. She sings with great presence and bravura in songs like “Wouldn’t It be Loverly” and “Rain in Spain” as well as the ever classic “I Could Have Danced All Night.”

Her foil, the irascible Henry Higgins, is played with flair and perfect fussiness by Richard Costa. Even more impressive is the fact that he stepped in at the last moment for a member of the cast who dropped out.  It makes his performance even more telling and impressive. Costa is full of a certain assurance and almost pompous self confidence ast Higgins. He knows the answers and that is that. He shines with great skill and power in songs like “Why Can’t the English” and “I’m an Ordinary Man.”

Todd Berkich plays Col Pickering, Higgins cohort a man who is Higgins best friend and older than he actually is. He is convincing and shows a real flair as well as a wonderful tenor voice which he displays with great effect in the trio. “Rain in Spain,” and in “You Did It” at the success of Eliza and Higgins at the ball.

There are so many riches here in the performances like with Eliza’s ne’er do well father, Alfie played with skill and vitality by Peter Tedeschi. He also shows a strong singing voice in songs like "Little Bit of Luck" and "Get Me to the Church."

His two drunken cohorts in bad behavior, Daniel Larsen and Jonathan Olivera, are sheer fun.

Roger Reed as Freddy a spoiled young man with  a serious crush on Eliza which he displays in “On the Street Where You Live” in a musical fashion that is impressive.

This large cast is full of talented performers in all the roles and all deliver their best consistently and with great energy and finesse. The riches here are abundant and continual.

Director Aimee Turner evokes stunning performances from her talented cast. Her choreography is impressive and often sheer unabashed fun. She knows how to direct s musical with skill and flair and she displays it with this with confident strokes all the way through.  Her dances shine as in “Wouldn’t It be Loverly” and “With a Little Bit of Luck” or the chic and simple elegance of “Ascot Gavotte.”

Musical director Esther Gabinski who also directs the orchestra is superb as well with a flair for finesse and passion that is impressive.

Valerie Remillard-Myette as Mrs. Pearce shines as well with her roles as the sevant. Melanie Souza is a gem as Henry’s sarcastic mother.

The costumes by Brian Horton are simply stunning in every scene without a doubt. In the scene at Ascot racetrack his use of black and white in the costumes is spectacular and engaging, leaving a distinct visual impression that lingers in the mind’s eye, shimmers like an impressionist painting.

Clifton Chadick’s sets are eye catching and impressive. His study for Henry Higgins is a wonder, full of deft touches that are revealing and impressive such as the various talking machines scattered about, the globe and the animal skull over the door.

This production captures the elegance, flair and style with a freshness that is appealing and entrancing, keeping everything new and full of vitality.

"My Fair Lady" (24 September - 19 October)

OCEAN STATE THEATRE COMPANY

@ 1245 Jefferson Boulevard, WARWICK RI

1(401)921-7100

“Grounded” at Gamm Theatre

by Richard Pacheco

            “Grounded” by George Brant opens the Gamm’s 30^th anniversary season, with a New England Premiere, sparked by superb acting and reverberating intensity. It was selected for the NNPN’s (National New Play Network) Rolling World Premiere program, which begat the Kansas City run, as well as last year’s productions in San Francisco and Tucson. It tells the tale of a hotshot female pilot who can fly with or drink with the best of them. This one person drama takes this hot shot fighter pilot from plowing through the blue of the skies to being grounded when an unexpected encounter leaves her pregnant, and grounded unable to be a fighter pilot.. After her daughter is born, she ends up in Las Vegas in a windowless room, now flying  drone on missions, not piloting a fighter. It produces mixed feelings in her, feelings of gratefulness that she can be with her husband and daughter on a daily basis out of harm’s way, and confusion and disoriented by the experience of seeking bad guys from an armchair, not flying a jet, but handling a joystick more like a gamer than a pilot. This juxtaposition leaves its own battle scars and personal impact on her.

            Liz Hayes is the ace pilot in the midst of major transition, not only in what she does and how she does it, but in the impact of being a cocky fighter pilot and having a daughter who likes pink ponies, not exactly what she had in mind, her daughter evolving into what she calls a “hair flipper.” Hayes is simply amazing in the role. She delivers a wide range of nuance and sincerity as she takes the pilot from boisterous days of  flying a jet and the camaraderie she finds there to her fractured existence as a drone pilot, enmeshed with in a confined space, both physically and mentally. It is a sheer delight, full of taut emotions and convincing shifts in mental attitude and health, transitions that are remarkable and revealing.

            The pilots spends her days obliterating the bad guys from her armchair with intense focus and an almost casual indifference.  There is an element of unreality in it for her. Then lines begin to blur between her desert war from a distance and her life in Las Vegas. Cracks begin to show as she follows from her drone a man know as “The prophet” who travels through the desert without ever leaving his car for a call of nature, or to get gas.

            Judith Swift directs with a keen eye and she knows how to keep things taut and compelling, keeping an eye toward the action even when the play itself falters a bit in that respect. She keeps it all on track, from character nuances to providing grounds for a propelling riveting performance by Hayes.

            The set and media by Sara Ossana can often be  fascinating with a broad screen behind with airy footage of catapulting through the clouds. At first some of the images are washed out, but then grow in clarity and conviction to make them an incredible enhancement, particularly with the grayed aerial footage of the drones when the done fires on the “bad guys” and they get blown to bits as seen from way high up, the eye in the sky.

            The play runs just over an hour with no intermission and a riveting, compelling and intriguing performance by Hayes. It is spellbinding, piercing drama. It lingers in the mind and heart as it broaches topics so common today in so many different ways.

           

“Grounded” at the Gamm Theatre until Sept. 28, 2014 172 Exchange St., Pawtucket. Tickets are $36-$45. Call (401) 723-4266, or visit gammtheatre.org.

“Broadway Bound” at Your Theatre

by Richard Pacheco

            Your Theatre opens its 68^th season with Neil Simon’s autobiographical “Broadway Bound,” the last of the “Eugene” trilogy, and the result is a funny, often touching production well acted, full of vitality and sincerity propelled by a strong cast. The play received four Tony Award nominations and received four nominations for the Drama Desk Award. It also was a 1987 finalist for the Pulitzer Prize for Drama. The play is about Eugene and his older brother, Stanley, dealing with their parents' relationship falling apart as the brothers work together toward being comedy writers for the radio, and, eventually, television. Drawn from Simon’s personal experience, the play has a definite resonance and vibrancy that is undeniable and highly appealing.

            Zane  Furtado, who in the previous two incarnations of the Simon trilogy, is once again Eugene after playing Stanley in “Brighton Beach Memoirs” and shifting to Eugene in “Biloxi Blues” carries on the character development in this play. It is a poised and polished performance full nice touches and nuance as Eugene confronts the combined struggles of trying to e a writer with his brother and his parent’s disintegrating marriage.

            Ian Vincent makes his debut with Your Theatre in the role as Stanley, Eugene’s older brother. It is an auspicious debut. Vincent has a terrific sense of comic timing. He is a bundle of energy, at once frantic and focused. He is a nerd crossed with the energizer bunny, all movement and  frenetic energy.

            Stephen Kay is Ben, the crusty often absent minded grandfather who is big on family, intelligent and stubborn. Ben loves his family but finds it difficult t tell them so and express his emotions. Kay, an experienced actor and director brings depth and nuance to the role. He is a wonderful mixture of cranky and forgetful, often falling asleep at inopportune times which he handles with skill and finesse.

            Tony Oliva is Jack, the father, who has changed considerably since “Brighton Beach Memoirs” Then, his family was his focus and he was determined to get the best for them no matter what. Now, that focus and determination is gone and he is deeply troubled, his marriage falling apart and him getting ready to leave them all behind. It is a vivid and convincing performance, very sincere and compelling.  He is not a villain, but a man in crisis at a lost to determine his direction with the inner chaos that envelopes and engulfs  him,

            Michelle Mastroianni is Jack’s wife, Kate. She is a woman who is strong and vibrant in the face of impending disaster, ready to do what it takes to take care of her family. It is a wonderful performance, rich and varied. Mastroianni has a masterful comic timing and the ability to shift into more emotional and deeper moments with style and poise.  She has an excellent Brooklyn accent that is convincing and alive.

Carol Oliva is sister in law, Blanche. She is frail and a widow, remarried to a wealthy man. She is aware of what she considers her own worthlessness and unimportance. Yet Oliva’s performance she is not reduced to a pathetic character, but someone who struggles to get out of the emotional ditch she dug for herself.

Director Larrence Houbre shows a keen eye for detail here and ably and deftly keeps it all on track, the humor taut and the emotional moments on target.

Mark Fuller’s set, basically a recreation of the “Brighton Beach Memoirs” set eh created is impeccable, full of intricate details and a sense of familiarity and hominess that is appealing and cozy,

            “Broadway Bound” at Your Theatre, 120 Rivet Street on the Corner of County,  New Bedford, MA www.yourtheatre.org or call508-993-0772. Sept. 18- 21, and 8 p.m. Thursday through Saturday. Matinee on Sept 21 2:30.

“Ivanov” at Trinity Rep

By Richard Pacheco

            “Ivanov” was Chekhov’s play first produced in 1877, commissioned as a comedy, but Chekhov delivered a four act drama with which he was unhappy. This translation by Trinity Artistic Director Curt Columbus, in this world premiere translation production, tackles it as a comedy and not your parent’s Chekhov at all, it is more like a combination of vaudeville and a wacky family reality television show. The play is not done much outside of Russia.

            The play tells the tale of Ivanov, who has gotten depressed and in a funk and struggles to recover his former joy and glory. His wife, Anna, a Jewess disinherited by her family when she convert to Christianity, has become very ill and his estate is run by a distant relative who is busy  advising people how he can help them make money.

Ivanov, Stephen Thorne,  is in a mounting funk about his life and not loving his ill wife any longer, both of which increase. Thorne is spirited and energetic in the role.

Anna is his wife, played by Rebecca Gibel. She is Ivanov's wife of 5 years who (unknowingly) suffers from Tuberculosis. She renounced her Jewish heritage and converted to Russian Orthodox in order to marry Ivanov. She struggles with her husband’s failing interest in her and his change from a positive outlook to a more gloomy and depressed one, which hangs over him like an ominous cloud of doom. Gibel is energetic and poised in the role managing to capture a certain fragility amidst here increasing sadness. It is a solid performance full of nice touches.

            Fred Sullivan Jr. is Count Shabelsky, a tile in need of money. He is Ivanov's maternal uncle, a geriatric buffoon full of bluster and bombast. Sullivan handles it with unbridled energy and zest often with over the top resules.

            Richard Williams is  Lvov, a pompous young doctor on the council's panel, and an honest man. Throughout the play, he moralizes and attacks Ivanov's character. He does not like him at all and dislikes the way he treats his sick wife William is the epitome of self-righteous in the role, full of self importance and self confidence, always ready to question anyone’s motives and the merest whim and inclination. Williams is on the mark in the role, never faltering.

            Sasha is played with charm and an almost naïve energy by Marina Shay. Sasha is the neighbor Lebedevs' 20-year-old daughter. She is infatuated with Ivanov, adores him like a determined puppy.

            Joe Wilson is Ivanov’s distant cousin and manger of the estate, a man with continual schemes to make more money, not just for himself, but for all around him. Wilson is frenetic, almost spastic in the role, which is often over the top nearly without subtlety.

            Angela Brasil is Marta, a rich relatively recent widow. She is attracted to the count and wants something more out of him. She is loaded with energy and zest in the role, if at times a bit overdone and exaggerated.

Anne Scurria is the shrill, overbearing Zinaida, mother of Sasha. She is also a lender and Ivanov is into here for quite of bit of money he cannot afford to pay back.

Timothy Crowe is Pasha, Marata’s husband and Chairman of the rural district council.  He is confidant and good friend to Ivanov. Crowe quivers at the merest sight of his wife who is totally domineering and overbearing. He is spineless and does here every bidding in total fear.

Stephen Berenson drifts in and out as a party guest obsessed with playing cards, as if it were his sole “raison d’etre.”  He is very funny as he darts about oozing excitement over each fresh game of cards he recalls for the others, much to their horror and boredom.

            There is some entertaining live music composed by Ian McNeely and broad bold strokes in the acting. The thing that bothered me is that the acting often seemed like harshly drawn caricatures rather than full characters, like some teen comedy gone awry.

            Director Brian McEleney keeps the pacing here rapid, full of comic touches throughout.  However the acting style seems a bit exaggerated, more farce than anything else, often lacking nuance and subtlety for the characters.  He keeps the ctors consistent though, but at times it  feels too much.

            The laughs are packed in all along the way, often back to back, but some of it seems strained and the transition to a darker ending seems a bit of a sudden shift, almost a surprise. A caveat, in the beginning, there is brief nudity as Ivanov gets out of the bathtub and goes offstage, I have to admit that this production with all its virtues leaves Stanislavski method behind in more frenetic (at times too much so) performances.

“Ivanov” Sept 4 until Oct. 5 at Trinity Rep, 201 Washington St., Providence. Tickets are $46-$71. Call (401) 351-4242,  

“Spamalot” at Theatre by the Sea

by Richard Pacheco

            If you despise politically correct as much as I do, and even if you don’t, you will love “Spamalot” at Theatre by the Sea. It is an vigorously energetic, spastic, irreverent romp that is bawdy and sheer delirious fun from beginning to end. It is a sheer delight, not to be missed. The performances are vivid, with impeccable comic timing punctuated by some strong and at times stunning singing. It is fall down funny with side splitting laughter all around. It is high camp in high gear without going overboard.

            It is adapted from the 1975 film Monty Python and the Holy Grail. Like the film, it is a highly irreverent parody of the Arthurian Legend, With the book and lyrics by Python member Eric Idle, the music is by Idle and John Du Perez.The original 2005 Broadway production, directed by Mike Nichols, won three Tony Awards, including the Tony Award for Best Musical of the 2004–2005 season and received 14 Tony Award nominations. During its initial run of over 1,500 performances it was seen by more than two million people and grossed over $175 million.

            This is all magnetically brought together by the talented directing and choreography of Billy Sprague Jr. He has nearly made a career of directing this show, doing in many times at various theaters.

            Al Bundonis is the hapless, clueless King Arthur, who blunders his way through everything and manages to succeed in spite of himself and in large part due to the assistance of his dedicated and diligent trusty sidekick, Patsy (Brad Bradley). Arthur strives to be regal cut just can’t pull it off, at one point struggle to find simple words to say something to Patsy, but cannot without his sidekick’s help. Bundonis is a delight with exquisite comics timing and strong voice.

            Haley Swindle is the Lady of the Lake, a smart, sassy, often impatient woman with a real fondness for Arthur, blundering or not.  She is an amazing singer and shows her stuff several times like with “The Diva’s Lament,” which she belts out with power and pizzazz. She also does a great impersonation of Cher at one point.

Brad Bradley as Patsy is a gem, with his coconuts to mimic horses’ hooves and non nonsense attitude I the face of danger and challenges that Arthur cannot do without. Bradley is excellent in the role.

Michael Andrako is Sir Galahad and shines when he teams up with Swindle in their duet “The Song That Goes Like This,” a wonderful parody of the sentimental Broadway ballad.

Sean Bell shines in multiple roles including Not Dead Fred and the effeminate Herbert. He sings “I’m Not Dead Yet” with flair, gusto and comic finesse.

Radio talk show host and former Mayor of Providence Buddy Cianci gets to be the voice of God

The rest of the large and abundant cast are top  notch, playful and skilled throughout.  Songs like “You Won’t succeed on Broadway is hilarious as it proposes you cannot have a successful Broadway show without Jews in it. “His Name is Lancelot,”  sung by Herbert and Lancelot, Jonathan Gregg is funny. There are too many gems here to list, but all in good fun and no target left unturned. With references to “Fiddler on the Roof” and “Man of La Mancha” he wit is raucous and unrelenting.
            There are many Monty Python gems peppered through the show like the Killer Rabbit and the Holy Hand Grenade of Antioch not to mention the knights who say NI and the Black Knight who is hacked to pieces but refuses to yield. Or the opening scene where villagers thought the narrator was referring to Finland not England, and launch into the “Fisch Schlapping Song” in Finnish costumes. All is fun galore. Or the off the wall and truly wacky conversation about how Patsy came up with coconuts in medieval England

            Bill Sprague Jr. direction and choreography are superb. The dancing is full of spunk and sassy, sheer fun on all occasions. His crisp direction keeps everything clever and robust. Numbers like “Always Look on the Bright Side of Life” are fun and sassy.

            Cassie Lent’s set design and sheer delight with all the hallmarks of Monty Python graphics for the television and the film, a hint of the Victorian and Pop art combined. Some of the standouts are the feet of God and the hand that pokes in from one side. The original costumes and wig design by Kurt Alger are right on the mark.

            It is a rollicking good time you don’t want to miss, fun and feisty.

            “Spamalot” runs through Sept. 7 at Theatre By The Sea, 364 Cards Pond Rd., Matunuck. Tickets are $42-$62. Call (401) 782-8587, or visit theatrebythesea.com.