Things have been getting awfully silly inside the Arts Club Theatre rehearsal hall.
In the weeks leading up to the company's production of Monty Python's Spamalot, director Dean Paul Gibson was surrounded daily by a motley crew of cross-dressers, evil bunny rabbits, Laker Girls, tap dancers, actors speaking in exaggerated French accents and knights who say "Ni!"
"It is tight quarters, let me tell you," Gibson says of the small — and very crowded — hall. But work is never dull. "It's the best kind of chaos — entertaining chaos."
The promotional poster describes the musical as "lovingly ripped off" from the 1975 film Monty Python and the Holy Grail, which parodies the legend of King Arthur. Conceived by Eric Idle, a founding member of the British comedy troupe, the original Spamalot production opened in 2005 and earned three Tony Awards, including Best Musical.
When it comes to the Arts Club production, Gibson maintains an if-it-ain't-broke-don't-fix-it philosophy.
"It's successful, so let it be. Just do it well."
He has steered clear of doing anything that might mess with the Python brand. After all, it's the troupe's enduring style of surreal humour that allowed Spamalot to succeed three whole decades after the release of the movie on which it's based.
"It's a silly, silly brand. I just think that it's downright stupidly fun," Gibson says, noting the unique way the Pythons manage to veer from slapstick comedy to "what the hell's going on?" moments to socio-political digressions.
The sketch comedy TV show, Monty Python's Flying Circus, ran from 1969 to 1974. In addition to Holy Grail, the group's other film credits include And Now for Something Completely Different (1971), Monty Python's Life of Brian (1979) and Monty Python's The Meaning of Life (1983).
The five surviving members of the veteran troupe are set to reunite for 10 live performances in London this July. Tickets to the first show sold out in 43 seconds — an indication of the Pythons' continued popularity, Gibson says.
He believes that Spamalot has enjoyed such success over the last 10 years not just because of its absurd Pythonesque humour, but also because it is a very well done musical.
"[The creators] understand what the whole genre is, the framework of a good musical," he explains, adding that the show also manages to poke fun at Broadway theatrical conventions. "They're not being particularly earnest about it all; the irreverence is fantastic."
The songs are extremely catchy, Gibson adds, expecting that guests will leave the theatre whistling. Some numbers, such as "The Song that Goes Like This" and "I'm Not Dead Yet," were written specifically for the musical; others are from the Holy Grail movie; and the fan favourite "Always Look on the Bright Side of Life" was originally featured at the end of Life of Brian.
This year marks the 50th anniversary of the Arts Club Theatre and, coincidentally, Gibson's 50th birthday. When Arts Club artistic managing director Bill Millerd approached Gibson last year to direct a show for the 50th season, he jumped at Spamalot.
"I just immediately knew right away that I wanted to be involved with Spamalot because I grew up with the Python people, the Flying Circus, and that was all part of my youth."
Born in Scotland, Gibson left the British Isles with his family when he was five years old and settled in White Rock. But he didn't leave behind his appreciation for British comedy. In fact, he recalls re-enacting John Cleese's famous "Dead Parrot" sketch in school. "I grew up understanding that sense of humour."
But he stresses that Spamalot is not just for people like himself who were raised on Monty Python skits and movies. The show will also appeal to musical theatre lovers and, for those unfamiliar with the Pythons, Gibson is hopeful this production will create some new fans.
"I certainly hope that they're entertained as much as I have been in the rehearsal hall."
Monty Python's Spamalot runs until June 29 at the Stanley Theatre. For tickets, call 604-687-1644 or go to artsclub.com.
