"Spamalot"

June 29, 2017 — The Barnstormers in Tamworth, New Hampshire, presented "Spamalot," a raucous, high-energy musical comedy, based mostly on the 1975 movie, "Monty Python and the Holy Grail," with ideas and dialog borrowed from other Python movies and the British group's TV series. All the irreverence, awful puns and inspired silliness the group was famous for was there, but set to music and spirited dance numbers.

Book and lyrics were by original Python member Eric Idle, music by Idle and John Du Prez. Barnstormers artistic director Bob Shea directed this production. Bret Silverman was the musical director and Taylor Shubert the choreographer. Costume designer Mary Selvoski did an impressive job designing the costumes for the large cast, multiplied by the many costume changes. Set designer Sarah Rozene did nice work on the medieval set.

I won't attempt to credit the entire cast here, there were too many. But Al Bundonis, tall and imposing, had the physical attributes and strong voice for a great, if often befuddled, King Arthur. Ryan Malyar was Arthur's constant companion, carrying a huge backpack and imitating the hoofbeats of Arthur's non-existent horse with coconut shells. Cheryl Mullings with her powerful voice was terrific as the Lady of the Lake. Doug Shapiro was a bit under-used in my opinion. One of the funniest men in New Hampshire theater, he could have been given a meatier role.

It helped if you were familiar with the group's off-beat style, as it appeared most of the nearly full-house audience was, judging from their reactions. I happen to be an unabashed Python fan, have been for years, but I'm well aware they're not everyone's cup of tea. So if Python humor tickles you more than it repulses you, you'd love this play. Even if you're not a fan, the show has some great song and dance numbers. This was a first-night performance, indeed the Barnstormers' first show of their season, and the entire production was perfection.

"The Whipping Man"

June 27, 2017 — It's April of 1865 and the Civil War has ended. The play begins as Caleb (Will
Howard), a Confederate soldier, severely wounded, tumbles through the door of his old Virginia mansion, barely able to walk. At the sound of his noisy arrival, Simon (Taurean Blacque), a former slave, comes out of another room bearing a rifle. Recognizing Caleb immediately, he lowers the rifle. Thus begins "The Whipping Man" by Matthew Lopez, directed for the Peterborough Players by Howard Millman, in Peterborough, New Hampshire.

As the play progresses in Charles Morgan's excellent set, a ruined southern mansion, stripped of most of the family's possessions, with tall windows, torn drapes, a chandelier on the floor and other signs of ravage and neglect, we learn Caleb and his family are Jewish. This is not just a plot device by the author. As many as 10,000 Jews may have fought in the Civil War on both sides.

A little later, John (Robb Douglas), another former slave, appears. Unlike the somber, sympathetic Simon, John is loud, irreverent, and a heavy drinker. Simon declares Caleb's badly wounded leg will have to be amputated to save his life. When Caleb refuses to go to a hospital, Simon decides he and John will have to perform the surgery. This leads to one of the most harrowing and gut-wrenching scenes in the play.

In Act II, Caleb's leg has been amputated and he's bed-ridden. Simon and John, who have adopted their masters' Jewish faith, prepare a Seder meal in observance of Passover. All three participate, Caleb reluctantly at first, claiming he lost his faith at Petersburg, one of the final and fiercest battles of the conflict.

Missing from the house are two other former slaves, Elizabeth and Sarah, their whereabouts unaccounted for. With Simon out of the room, we learn from John a terrible secret, unknown to Simon. Caleb insists they must tell him, even though it will break his heart, but John, in a rare moment of compassion, is reluctant to do so.

The whipping man of the title refers to the policy of wealthy southern families to send their misbehaving slaves to services that provided whipping for a price, thereby keeping their own hands clean from this brutal practice. John had been a victim of many such whippings, one of them ending in an act of violence by John that could have serious consequences for him.

This was a beautifully-acted play, particularly by Taurean Blacque, about the evils of slavery, the devastation of war and personal loss. The sparse audience for this Tuesday afternoon performance was obviously pleased.

"The Rocky Horror Show"

June 15, 2017 — Currently on stage at the Winnipesaukee Playhouse (the "Winni") in Meredith, New Hampshire, is a fast-paced, sexy, hilarious production of "The Rocky Horror Show." Opening in London with book, music and lyrics by Richard O'Brien in 1973, the play received positive reviews. The 1975 movie based on the play, re-titled "The Rocky Horror Picture Show," was not as well-received, but achieved cult status at midnight showings that continue to this day, featuring wild audience participation, where patrons dressed in costume throw various items around, repeat dialog and lyrics and dance in the aisles and at their seats.

The Winni invited the audience to participate, but in a carefully controlled way. Patrons could dress in costume, as some did, but were not allowed to bring their own objects into the theater. Any bags brought into the theater were subject to search. A five dollar charity contribution entitled you to a theater-provided kit containing a flashlight, confetti, toilet paper, a newspaper and playing cards, along with instructions as to which points in the performance to use these items. There was no annoyance to patrons who chose not to participate, although I did comb some confetti out of my hair the next morning.

The theater was bathed in violet light as we entered. Multi-colored chandeliers hung from the rafters along with strings of colored lights. Actors roamed the aisles and kibitzed with the audience before the play started. Set designer Dan Daly's impressive set consisted of several stairways and platforms. It resembled his set for last year's play, "Israel Potter, American Patriot."

This production at the Winni was directed by Timothy L'Ecuyer. Janet (Rebecca Tucker) and Brad (Michael Luongo), after a walk in the rain after their car breaks down, stumble into a strange mansion filled with stranger people. All they wanted was to use a phone, but that's not what the mansion's weird residents have in store for them. I won't go into all the details which by now are familiar to many, but suffice it to say this high-energy performance, with great music under the direction of Shoshona Seid-Green and dance numbers choreographed by Brian Knowlton was well-received with frequent loud cheering and applause by the enthusiastic audience.

Mark Stephen Woods, heavy-set and towering over all the other performers, pretty much stole the show with his over-the-top portrayal of the transvestite, Frank-N-Furter. Wayne Shuker was Rocky and Anthony Logan Cole with his powerful voice took the dual roles of Eddie and Dr. Scott. Artistic director Neil Pankhurst did a rare acting turn as the narrator. Equally noteworthy were John-Michael Breen as Riff Raff, Valerie Nuccio as Magenta, and Sandia Ahlers as Columbia. The supporting cast was excellent. R-rated scenes behind back-lighted sheets at the beginning of Act 2 were cleverly staged and hilarious. This was a great start to my summer theater tour.