Soda Springs High School presents Spamalot

Whether you are of an age where you can quote Monty Python in your sleep, of an age where you distinctly remember your children driving you crazy by quoting Monty Python while quite awake, or not yet of an age where you don’t realize you haven’t not heard them all your life, well, you’d probably better see your doctor.  It’s just sound medical advice, that. 

Wherever the point was, the facts are that Soda Springs High School put on a semi-expurgated version of the on and off Broadway musical Spamalot to the delight of many, though perhaps not Dennis.  The musical was adapted from the screenplay, and by and outrageous coincidence the film of the same name, put together somewhat lazily by John Du Prez and former Python layabout Eric Idle for no greater purpose than filthy lucre.  In a happy accident, it also resulted in an entertaining production that is infinitely gratifying to fans of the lads, and probably mostly mystifying to anyone walking in from the street to take in the show.  You’d think the large posters and digital sign would be a dead giveaway as to the nature of the event, but that’s what you’d get for thinking.  If you’d been thinking, you’d also wonder about the type of person who might wander in off the street to any show in Soda Springs without knowing what to expect, and then the whole metaphor would be dashed and where would we be?

In any case, in my opinion the cast and the directors did a smashing job of executing a hard task, so out of respect I will stop writing like this and sacrifice what would have been an excellent execution joke.  Starting now, from the top.  (Which was not an execution joke, per se.)

Director Kimberly Mumford had a lot to manage with the production, so it’s a good job she doubled as the set designer.  The play, as if only fitting, exists in a fairly chaotic theatrical space—using the orchestra pits, the audience, mobile ramparts and replicated forests and whatnot.  In addition to the efficient and clever use of modular sets, a lot of humor was wrung from stage business and prop work.  If you were waiting to see how the battle with the Black Knight would be accomplished, well, you’ve waited too long.  The play’s done.  But suffice to say, it was excellent.

Considering that the play features by some estimates over 80% English accents (with a few notable French and Finnish contributions), as well as humor that is based on patient reaction timing and clear delivery of nonsensical lines, the cast did an honestly fantastic job, and should be congratulated for it.  In fact, they probably were—there seemed to be a lot of parents on hand.  

As if paying suitable homage to a beloved cult film wasn’t hard enough, the cast also had to do a passable job with the singing bits, which, I’m sure everyone in the audience is quite relieved to say, they more than did.  

Seniors in the cast were Hudson Moore as the estimable King Arthur, Tsyson Inskeep as the less estimable but altogether more reasonable Patsy, Benjamin Beutler as the bravish Sir Robin, Charles Fryar as Sir Bedevere and a surprise appearance as Tim, Abby Hansen as the sirenic Earth Lady of the Lake as well as her Lady Guinevere, Destiny Dursteler as the late Prince Herbert, and Jacob Mayne as the French Taunter, for the second time.  The cast also featured Tilden Warner, Elizabeth Beutler, India Galloway, Mariah Richardson, Macie Clegg, Samantha Dickaut, Alex Sturges, Austin Moody, Sara Fryar, Sam dory, Audry Norris, Willer Koller, Mollie Renfroe, Rylie Watkins, Kylee Fullmer, sierra Muir, Caleb Guedes, Eli Dickhaut, Lorelei Richardson, and McCkay Inskeep. 

Lighting and sound were by Rebecca Fryar.  The Stage Manager was Nardo Guthmiller.  The Stagehands were Austin Moody, Lincoln Moore, Alexz Dickhaut.  

The sets were constructed by the Musical Theatre Class.  The backdrop was painted by Andy Berg and the Art classes.  The program was created and produced by Kelly Morre and the Yearbook staff.  The costume mistress was Rebecca Fryar, assisted by Kelly Moore.  Special thanks were given to Julia Moses, the Palace Theatre, and Melinda Parry.

If you missed the performance, that’s on you, and I hope you’re proud of yourself, because it really was quite well done and immensely entertaining.  Kudos!