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Letter: A lot to ‘Spamalot’

The Community Players’ production of Spamalot was sensational, but then so are most of their shows. Spamalot, though, deserves some special recognition.

The acting was delightfully zany, with talent oozing out of every one of the numerous scenes. And the players were appropriately awarded a standing ovation. But let’s give credit where credit is due. The staging by Wallace Pineault was inventive and powerfully effective. One can only appreciate the marvel of it all if you know how little space is available backstage at the Audi. It is little short of a miracle that the enormous set pieces were manipulated in a way that produced credible scenery for the actors to perform their magic.

That magic featured an ensemble of dancers that required serious traffic management, particularly since there were numerous costumes changes, some of which were rapid fire. Again the postage-stamp-sized backstage presented a challenge which was masterfully met. Credit for managing all that traffic goes to Mindy Wolfe and Megan Conn. Any period piece requires effective costuming. Gay Bean and her team went all out to give the production a look that Shakespeare would have approved. The lighting by Steven Meier was spot-on. And coordinating all of the technical aspects to make the “trains run on time” was the job of Kevin Belval. The backstage crew made it all work beautifully and they, too, deserve a standing ovation.



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