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Home , Excalibur (rock opera), John Du Prez, Spamalot

D is c G o v u e id r e y

BOOK & LYRICS by

MUSIC by & ERIC IDLE

DIRECTED by MELISSA RAIN ANDERSON

P.L.A.Y. (Performance = Literature + Art + You) Student Matinee Series 2015-2016 Season 1 TABLE OF DEAR EDUCATORS, If you have even a passing knowledge of , you know that , like much CONTENTS of the group’s work, is full of ridiculousness and silliness and oddity. That’s such a big part of Monty Python’s charm – the acknowledgment and embrace of how much of our days are About spent on the ridiculous, the silly, and the odd. But what sets them apart is the incredibly high Spamalot . . . . 2 level of intelligence and empathy with which they embrace the lunacy. This, in turn, grants us access to their singular universe through any number of entry points. Eric Idle and There is, of course, the initial humor of it all; the immediate visceral reaction to, say, one John Du Prez. . 2 man slapping another in the face with a gigantic fish, or heroic knights seemingly unaware that their horses are merely servants clapping together two coconut halves. But The Cast. . . . . 2 we make our way past the physical, we find that there is so much more to discover within the joke. Spamalot Spamalot, at various points, touches on the nature of political power, how that power is Production derived, and to what ends it is employed; on the frustrations of unrequited love and the History ...... 3 loneliness that accompanies it; on the ability to affirm a belief in ourselves against constant struggles with adversity; on the power of self-determination in the quest to find a Activities . . . . 3 personal grail; and, finally, on the value of finding the bright spots in even the darkest of situations. Quite a lot going on for a play with fish slapping and invisible horses, right? England The question for us is always if the students will see some version of themselves in the story. During The Will they be able to connect themselves to what they’re seeing on the stage? And, we believe, . . 4 that the answer is yes. Maybe they’ll identify with the put-upon and underappreciated . Or perhaps they’ll recognize themselves in Prince Herbert and straining against the Arthurian ill-fitting plans set out before them. Maybe the more politically-minded Dennis will strike a Legends . . . . . 5 chord? Or, possibly, even himself will provide the connection, as he is given a task that he doesn’t quite understand and is not equipped with a solid plan for completing Monty Python: that task – a set of circumstances with which we can all, most likely, identify. Highly As always, we thank you for the privilege of sharing the power of theatre with your students. Intelligent and We’re so eager to witness them make these connections for themselves. Silly ...... 6 Sincerely, How To Create WARNING: A Play in 20 Spamalot contains some mature language and content. Quick & Easy Steps For While Spamalot is a musical comedy, some of the language and content in the production are suited for more mature Under middle and high school students. It is recommended that all $700,000 Eric Evans educators take the opportunity to read the script of (Abridged). . . . 7 Education Administrator Spamalot prior to attending with their students. [email protected] If you have questions or concerns about the content of the Spamalot (585) 420-2035 Fun Facts . . . 10 play or would like to request an electronic reading copy, please do not hesitate to the education department.

Participation in this production and supplemental For a list of resources used in the creation activities suggested in this guide support the of this Discovery Guide, please visit following NYS Learning Standards: www.gevatheatre.org/programs-for-students/ A: 2, 3; ELA: 1, 2, 3; SS: 2, 3, 4

“LIFE IS REALLY UP TO YOU, YOU MUST CHOOSE WHAT TO PURSUE.” – THE 2 ABOUT SPAMALOT Bes dréamlic fréogan áwrítan nigontíenlic-hundseofontiggéare-fífwintre filmen, Monty Python and the , onbutan brytencyning Ænglisc…you didn’t think we were going to make you translate the whole thing from Olde English, did you? Spamalot, which is “(lovingly) ripped off” of the 1975 film, Monty Python and the Holy Grail, is centered around the story of King Arthur and his fellow Knights of the Round Table, as they embark on a brave quest to find the Holy Grail. Their journey is a noble one. Set in England (not to be confused with ) in 932 AD, we see King Arthur meet the Lady of the Lake, we watch Sir Lancelot come to grips with who he really is, and we witness Arthur’s servant, Patsy, struggle with a lack of appreciation. With some divine intervention, chaotic battle scenes, and cheesy, stereotypical love songs along the way, Spamalot is sure to bring smiles, laughs, and a reminder to “always look on the bright side of life.” u

ERIC IDLE & JOHN DU PREZ Eric Idle has been a writer, song-writer, comedian, and performer for over forty years. He is most well-known as one of the six members of Monty Python along with , , , , and animator . As Monty Python, they produced a highly- regarded television series as well as four feature films, among a number of other projects. Idle is credited with the authorship of Spamalot but, in fact, the bulk of the story and the dialogue is derived from the film, which was co-authored and created by all of the members of Monty Python in 1975. John Du Prez is a , conductor, and who has since written several Above: Eric Idle; film scores including Oxford Blues, Once Bitten, and Carry On Columbus. Du Prez Far right: often worked with members of Monty Python, most notably for Monty Python's Life John Du Prez of Brian, Monty Python's The Meaning of Life, , and . Du Prez also co-wrote the music for Spamalot. u

THE CAST

Top row (from left to right) : Brandon Andrus (Sir Dennis /Black Knight/Prince Herbert’s Father); Jessica Azenberg (Ensemble); (Patsy/Guard #2); John Cummings (Ensemble); Mike DiSalvo (Sir Lancelot/French Taunter/Knight of Ni/Tim the Enchanter); Nicole Eras (Ensemble); Andy Frank (Ensemble); Leah Hassett (Ensemble); (King Arthur). Bottom row: Jacob Hoffman (Historian/Not Dead Fred/French Guard/Prince Herbert/Minstrel); Ashley Dawn Mortensen (Lady of the Lake); Shannon Mullen (Ensemble); Frankie Paparone (Ensemble); Adam Pellegrine (Ensemble); Jim Poulos (Sir Robin/Guard #1/Brother Maynard); Jacob Stewart (Ensemble); Michael Warrell (Sir Bedevere/Mayor/Dennis’ Mother/Concorde).

“THE NEW TEST IS YOU MUST PUT ON A BROADWAY MUSICAL.” – NI KNIGHT 3 SPAMALOT’S PRODUCTION HISTORY “I think Spamalot turned out splendidly. It’s had a tremendous run. I defy anyone to go and not have a really fun evening. It’s the silliest thing I’ve ever seen and I think Eric did a great job.”– John Cleese, Monty Python member Since its preview in December of 2004, Spamalot has gone on to become one of the most successful musicals in theatre history. The profits from the show’s initial New York run are said to have made Broadway box office history. Below is an abbreviated production history for Spamalot.

2004 - Chicago (preview) (Shubert Theatre) 2010 - 1st UK Tour 2005 - Broadway run (Shubert Theatre) 2012 - West End revival 2006 - West End (Palace Theatre) 2013 - 2nd North American tour 2006 - 2009 - 1st North American tour 2015 - 2nd UK Tour

In addition, Spamalot has had innumerable productions throughout the United States as well as , Spain, Sweden, France, , Hungary, Belgium, the Czech Republic, Canada, Italy, and Japan. u ACTIVITIES

The Politics of Spamalot Realism in Spamalot ARTHUR: I am your king In Spamalot, we see many situations with little basis in MOTHER: Well, I didn't vote for you. reality. You will never, for example, meet up with a ARTHUR: You don't vote for kings. stubborn man in armor who refuses to let you pass, thus forcing you to de-limb him. Some of the situations MOTHER: Well, how did you become king then? that actually are grounded in reality quickly escalate far Though many may consider Spamalot to simply be beyond any sort of recognizabe scale. However, a silly musical, it actually boasts several political despite the immense silliness of much of Spamalot, underpinnings. Consider, for example, the above there are many themes present that will be dialogue and the question posed by Dennis’ mother. immediately recognizable to many audience members. Over the course of the scene, a number of political As you watch the play. consider some of the following: philosophies are mentioned. Several are listed * The relationship between King Arthur and Patsy below. Research them and their different systems of governance. * Prince Herbert’s relationship with his father * The Lady of the Lake’s feelings about her place in the * Autonomous collective story * Dictatorship Try to notice how many other instances you recognize * A self-perpetuating autocracy while watching Spamalot, and how quickly they spin * Anarcho-syndicalist commune out of control.

Fact Checking Spamalot While theatre often requires audience members to suspend their disbelief, it is still the goal of the production to be as believable as possible. Spamalot, however, features a number of items that have no business in a story set in 932 A.D. Research technological advances during the Middle Ages and see what would have been considered “cutting edge” for its time. How many modern items you can spot in this prodution?

“STRANGE WOMEN LYING IN PONDS DISTRIBUTING SWORDS IS NO BASIS FOR A SYSTEM OF GOVERNMENT. ” - DENNIS 4 ENGLAND DURING THE MIDDLE AGES We learn early on that Spamalot is set during the Middle Ages in 932 A.D. However, as Monty Python member Terry Gilliam has pointed out, the Arthurian stories that the group used as inspiration (such as the works of Sir Thomas Malory and Chretien Le Troyes) were written in the 12th century and set in the 10th century. As a result, Gilliam and the other members of the group were afforded an enormous amount of material from which to craft their skewered version of the Arthurian legend. The Middle Ages ran from roughly the end of the 5th century through to the start of the Early Modern period in 1485. When England emerged from the collapse of the Roman Empire, its economy was in decline and many of its towns had been abandoned. Following several centuries of Germanic immigration to the area, a series of predatory kingdoms developed, with all of them in competition for power. Over time, the Anglo-Saxons rose as the dominant force in the country. Their rise also resulted in a large increase in conversions to Christianity, leading Pieter Bruegel the Edler’s to the establishment of a network of monasteries and convents across the Feast of Fools country. The 8th and 9th centuries witnessed fierce Viking attacks until Wessex was eventually established as the dominant kingdom. Despite repeated crisis’ of succession and a Danish seizure of power at the start of the 11th century, by the 1060s England was a powerful, centralized state with a strong military and successful economy. The Norman invasion of England in 1066 led to the replacement of the Anglo-Saxon elite with Norman and French nobles and their supporters. William the Conqueror and his successors took over the existing state system, repressing local revolts and controlling the population through a network of castles. The new rulers introduced a feudal approach to governing England, eradicating the practice of slavery but creating a much wider body of unfree laborers called serfs. England's population more than doubled during the 12th and 13th centuries, fueling an expansion of towns, cities, and trades. A new wave of monasteries and friaries were established, while ecclesiastical reforms led to tensions between successive kings and archbishops. Despite developments in England's governance and legal system, infighting between the Anglo-Norman elite resulted in multiple civil wars and the loss of Normandy. The 14th century in England saw the Great Famine and the Black Death, catastrophic events that killed approximately half of England's population, throwing the economy into chaos and undermining the old political order. The Black Death, or Plague, as it is commonly known, was a fatally infectious disease caused by powerful bacteria spread in the air, by direct contact, or by contaminated, undercooked food or materials. While treatable, if detected early, plagues were responsible for thousands of deaths throughout the world during the Middle Ages. Social unrest followed the Black Death, leading to changes in the economy and the emergence of a new class of gentry as the nobility began to exercise power Pieter Bruegel the Edler’s through a system termed feudalism. Nearly 1,500 villages were deserted by their The Fall of the Rebel Angels inhabitants as people sought new opportunities in the towns and cities. New technologies were introduced, and England produced some of the great medieval philosophers and natural scientists. English kings in the 14th and 15th centuries laid claim to the French throne, resulting in the Hundred Years' War. Following several important military victories, England enjoyed an economy buoyed by profits from the international wool and cloth trade. By 1450, however, the country was, again, in crisis, facing military failure in France and an ongoing recession. More social unrest broke out followed by the Wars of the Roses, fought between rival factions in the English nobility. Henry VII's victory in 1485 typically marks the end of the Middle Ages in England and the start of the Early Modern period. u

“WHY ARE WE CALLED THE MIDDLE AGES WHEN NOTHING COMES AFTER US?” - KING ARTHUR 5 ARTHURIAN LEGENDS King Arthur King Arthur was a legendary British leader of the late undertook quests and strove to protect the king and 5th and early 6th centuries who, according to medieval the citizens of the kingdom. history, led the defense of Britain against The Legend of the Lady of the Lake Saxon invaders in the early 6th century. The Lady of the Lake is best The details of Arthur's story are mainly known for presenting King composed of folklore and literary Arthur with the sword, invention, and his historical existence is . She does so at the debated and largely disputed by modern request of who, as historians. Arthurian legends tell tales of Arthur meets the Lady of King Arthur Arthur’s advisor, fears for his the Lake and gets the Arthur’s kingdom, battles, valor, his safety in battle. Later in the marriage to and the gift of the Round Table Sword Excalibur by Henry Justive Ford legend, the sword is returned to upon their union, the adulterous love affair between her. While Arthur is off battling the Saxons, his nephew Guinevere and Arthur’s knight Lancelot, his quest for or illegitimate son (depending on the legend), the Holy Grail, the acquisition of a sword from Merlin , raises an army against him. He engages and the stone, the Lady of the Lake, Excalibur, and the Arthur in battle upon his return and both Mordred and destruction of his kingdom. Arthur are mortally wounded. As he draws his last Holy Grail breaths, Arthur asks his most loyal knight, Bedevere, According to a Welsh poem, the Grail was a “magic to throw Excalibur into the lake, and then to return cauldron” that King Arthur and his men were sent on a and tell him what he sees. Bedevere tries twice to quest to retrieve. It was capable of providing enlighten- throw the sword into the lake and each time he is ment, happiness, eternal youth, and food in infinite reminded of what a faithful sword it has been and finds abundance. As time progressed, the Holy Grail came to he cannot bear to do it. He hides the sword and tells represent the chalice that Christ drank from at the Last Arthur he has done his bidding. Each time Arthur Supper and the vessel used to catch his blood as he accuses Bedevere of lying and sends him back to throw hung on the cross. It was said to have been brought to in the sword. On his third attempt, Bedevere finally Britain and later became the object of knightly quests - manages to throw the sword in the lake. He returns to only those godly enough, noble enough, and those with Arthur and tells him that, as he threw the sword, he a true heart were said to be worthy of finding the Grail. saw a hand - undoubtedly belonging to the Lady - emerge from the lake and take it down into the water. The Knights of the Round Table At this, Arthur nods and closes his eyes. As Arthur Knights were usually of noble birth and formed the passes away, Bedevere sees the ghosts of past backbone of an army since they could afford expensive kings and queens appear and carry his body out over armor and weaponry. When knights attended a the lake. festival or council at King Arthur’s castle, those who sat at the head of the table usually held precedence or had a higher position than the others. To resolve In Literature, Camelot (an imaginary place), is usually quarrels over status woes, King Arthur’s table was situated in the South of England. Camelot is sometimes constructed in a rounded shape. The ingenuity of this identified with Cadbury Castle. When the site was design made all the knights equal, regardless of stature, excavated in the late 1960s, it was confirmed that a and represented equality, comradeship, eternity, and a large fort and enclosure was there in the Arthurian era united purpose. Arthur’s knights were heroes, and was probably occupied by a powerful leader and renowned for their strength, courage, honor, dignity, his followers. If Arthur existed, he would have needed courtesy, and skill in combat and warfare as they a base for his operations and, in most medieval texts, Arthur holds court at Camelot. u

“AND REMEMBER, GENTLEMEN: WHAT HAPPENS IN CAMELOT, STAYS IN CAMELOT.” - KING ARTHUR 6 MONTY PYTHON: HIGHLY INTELLIGENT AND SILLY One of the central themes in writer David Morgan’s book, Monty Python Speaks!, is the endurance of one of the group’s guiding principles – the willful collision of intelligence and ridiculousness as a means to examine and spoof the extremes of both. Throughout the book, Morgan reflects how truly ground-breaking that combination felt to audiences in the late 1960s and through the 1970s, when Monty Python was at its most popular peak. “The revolution was televised,” writes Morgan. “Monty Python was not about jokes; it was really about a state of mind. It was a way of looking at the world as a place where walking like a contortionist is not only considered normal, but is rewarded with government funding; where people speak in anagrams; where highwaymen redistribute wealth in floral currencies; and where BBC (British Broadcasting Corporation) newsreaders use arcane hand signals when delivering the day’s events.” “When the six members of Monty Python embarked on their unique collaboration,” continues Morgan, “they were reacting against what they saw as the staid, predictable formats of other comedy programs. What they brought to their audiences was writing that was both highly intelligent and silly. What made Monty Python extraordinary from the very beginning was their total lack of predictability, reveling in a stream-of-consciousness display of nonsense, satire, sex, and violence. Throughout their careers they were uncompromising in their work and, consequently, made a mark on popular culture Monthy Python during the filming which is still being felt today.” of Monty Python and the Holy Grail In their 1975 film, Monty Python and the Holy Grail (on which Spamalot is largely based), many of these attributes are on full display in what Morgan describes as “a joyfully irreverent mixture of comic riffs, mock heroics, and songs in which bits and pieces of Arthurian mythology were all targets for satire.” The faithful rendering in the film, for example, of setting and costume of the Middle Ages only enhances the absurdity of King Arthur and his knights miming horse-riding while being followed by servants clapping together two coconut halves in place of horse hooves. You could enjoy the story for its faithfulness to (parts of) Arthur’s story, or for the sheer oddity of how Monty Python told that story. Part of their brilliance was in giving audiences that choice. Monty Python and the Holy Grail was not, however, a mere period piece with some eccentric touches. The members of the group, all college educated with several of them extremely well-versed in the Middle Ages, knew that they could use this story – in its mocking of the acceptance of myth as fact, for example, or the inconsistencies of political rhetoric – as a way to appeal to the sensibilities of younger (or at least more out-of-the mainstream) audience members. This was a time when the Vietnam War was still being fought and the specifics of 1960s idealism were being openly questioned. In Monty Python Speaks!, member Michael Palin says, “we found that within these characters we could write material that did not need modern references necessarily, but would be modern attitudes – the peasants discussing modern constitutions and how the governmental bodies should be. Now that’s a very modern idea, a sixties and seventies concept that you could stay in costume and do it in a field; you didn’t have to cut to people around a discussion table.” Monty Python would continue with this scrutiny of institutions – governmental and religious, among others – in their subsequent films Monty Python’s Life of Brian and Monty Python’s The Meaning of Life as well as their own individual projects. And, as David Morgan opines, you can still feel the influence of their work today. u

“SO BE YOU WARNED YOU BRAVE KNIGHTS, FOR DEATH AWAITS YOU ALL WITH NASTY GREAT BIG POINTY TEETH! ” – TIM THE ENCHANTER 7 HOW TO CREATE A PLAY IN 20 QUICK & EASY STEPS FOR UNDER $700,000 (ABRIDGED)

From top to bottom: King Arthur (Hunter Foster) and the Black Knight (Brandon Andrus); Patsy (Jennifer Cody); Sir Dennis Galahad (Brandon Andrus) and The Lady of the Lake (Ashley Dawn Mortensen); God’s feet and the Holy Grail

All photos courtesy of HuthPhoto

“GOD THE ALMIGHTY AND ALL KNOWING HAS MISPLACED A CUP?” – SIR ROBIN 8

“THE WOODEN RABBIT, SIRE!, IT’S THE VERY LATEST IN MODERN TECHNOLOGY.” – BEDEVERE 9

“ALL MY KNIGHTS HAVE FLED AND WE’RE LOST IN A DARK AND EXTREMELY EXPENSIVE FOREST.” – KING ARTHUR 10 SPAMALOT FUN FACTS * $467,000 – Spamalot’s production budget for direct costs (costumes, set, travel, rentals, actor and designer fees, STAFF SKIP SKIP SKIP royalties, etc.) SKIP * $185,000 – Spamalot’s production budget for indirect costs GREER (overhead, Geva staff, utilities, etc.) DIRECTOR OF * $66,5000 – Spamalot’s royalties (11% of the show’s total EDUCATION/ projected income) ARTIST IN RESIDENCE * $50,000 – Spamalot’s marketing budget * $30,000 – Spamalot’s costume budget * Spamalot holds the record for most costumes in a single LARA production in Geva history. RHYNER ASSOCIATE * There are over 200 costumes, 100 pairs of shoes, and 40 wigs DIRECTOR OF (not including facial hair). EDUCATION * Equity guidelines state that every article of clothing that touches an ERIC actor’s skin (undergarments, tights, leotards, EVANS socks, etc.) must be doubled so that on two-show EDUCATION days when we there isn’t enough time to wash ADMINISTRATOR everything between performances, every actor has clean clothing to wear under their costumes. The KEVIN costumes are regularly cleaned and maintained by PLINZKE the wardrobe crew and costume shop. EDUCATION * Each of the 17 actors in Spamalot had two 1-hour INTERN costume fittings– that’s 34 hours of just fittings in a Set model by Scenic Designer James Morgan two-week period. JEAN * There are several trick costumes in Spamalot – be sure to look for them! GORDON RYON DRAMATURG

MARK CUDDY ARTISTIC DIRECTOR

TOM PARRISH EXECUTIVE DIRECTOR

All costume renderings by Costume Designer Susan Branch Towne

“ALWAYS LOOK ON THE BRIGHT SIDE OF LIFE.” – PATSY Geva’s P.L.A.Y. 2015-16 Student Matinees

December February 25th 2nd, 3rd, 8th, January 19th and March 2nd, 9th, 10th, and 3rd, 10th, 16th, 15th & 16th February 4th 17th and 18th at 10:30 am at 10:30 am at 10:30 am For all For high For middle audiences school school (ages 5 audiences audiences and up) and up Tickets on-sale now. For more information, call (585) 420-2035.

Education Partners Thank you to our corporate and foundation donors who support our education programs. (Donors are listed for the time period 05/31/2014 through 9/11/2015)

Ames-Amzalak Memorial Trust in Memory David & Sharon Mathiason Sherwin & Linda Cornell Weinstein of Henry Ames, Semon Amzalak and Mr. & Mrs. Dennis Mullen The Xerox Foundation Dan Amzalak The Guido and Ellen Palma Jay Birnbaum Foundation Printing Sponsor Canandaigua National Bank & Trust Dr. & Mrs. Richard Poduska Excellus BlueCross BlueShield The Donald F. and Maxine B. Davison The Polisseni Foundation Foundation Eric & Elizabeth Rennert To Kill A Mockingbird Enterprise Rochester Area Community Foundation Education Program Sponsor Feinbloom Supporting Foundation Lynn Rosen & Bradley Rosen Fred & Floy Willmott Foundation Time Warner Cable Louis S. & Molly B. Wolk Foundation Mr. & Mrs. Peter van Demark Max and Marian Farash Charitable Ms. Katherine Wall & Ms. Madeline Wall Foundation Wegmans Food Markets Summer Curtain Call Supporters Thank you to the supporters of the 2015 Summer Curtain Call Event, our annual gala in support of our education programs.

Executive Producer Director Rochester Red Wings Hedonist Artisan Chocolates Nocon & Associates, A private Jack & Lisa Baron Trillium Health ImageNow by Mahar wealth advisory practice of Victoria & Bill Cherry U.S. Employee Benefits Madeline’s Catering Ameriprise Financial CJS Architects Services Group Mark’s Pizzeria Services, Inc. Constellation Brands, Inc. VisitRochester Marshall Street Bar & Grill Dawn & Jacques Lipson, M.D. Suzanne Gouvernet Helen A. Zamboni & The Melting Pot Elaine P. & Richard U. Wilson Michael & Joanna Grosodonia Steven L. Rosen Moonlight Creamery Foundation Manning Squires Hennig News 10 NBC Co., Inc. With additional support from New York Wine & Associate Producer REDCOM Laboratories (585) Magazine Culinary Center Pamela Giambrone Joseph A. Floreano Balsam Bagels Nolan’s Rental Inc. Kim & Janet Tenreiro Rochester Riverside Black Button Distilling Paper Moon Productions Sergio & Mary Ann Esteban Convention Center Conolly Printing ROC Brewing Co. LLD Enterprise Rochester Regional Health Daryl Hogg WXXI Public Broadcasting System Entre Computer Services Fioravanti Florist

75 Woodbury Boulevard Interested in sponsoring Rochester, New York 14607 Geva’s Educational Box Office: (585) 232-Geva (4382) programming? Contact Education Department: (585) 420-2058 or 420-2035 Kelly Smith at www.GevaTheatre.org (585) 420-2041