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What Happens In SOTA's Camelot, Stays In SOTA's Camelot!

On Friday, March 7th 2014, Ruth Asawa School of the Arts performed Monty Python's Spamalot. The cast consisted with students from SOTA, some of which weren't even from musical departments! The show was extremely enjoyable and I recommend going. Get your tickets here.

Everybody in the show had microphones producing an even sound. I was grateful for that. I always found myself not hearing some people and being deafened by others. The overture sets up a good mood and The Historian comes out and gives a long and tedious speech in which he mentions England quite a few times. After a second, an ensemble of villagers and their mayor come out and begin singing the Fisch Schlapping Song. The men take out small fish and start slapping the women on either cheek with these fish. After a few slaps, the women take out even greater fish and knock the men down. Before long, the historian comes back on stage and yells:

I said England, not Finland!

The frolicking Finns gather their belongings and leave, being replaced with England. Three monks in hooded robes come on stage with huge Bibles in their hands. They occasionally bang their heads on the Bibles to the beat while chanting some medieval chant. I found that to my taste there were too many anti-religion jokes. It was funny once or twice, but the whole musical seemed to consist of mocking every type of religion or culture. It was uncomfortable for me to hear how the French guard on the stone wall told King Arthur that he was French.

I'm French. Why do you think I have this outrageous accent, you silly king? 

Another scene which bugged me a bit was when King Arthur was told to put on a Broadway Musical and Patsy sang an entire song about how you cannot put on a Broadway Musical if you don't have a Jew. There was the Star of David hanging over the curtain and a menorah was placed onto an upright piano which was rolled onto stage exclusively for that scene.

I enjoyed the "he is not dead yet" song very much. I particularly enjoyed the sound when Sir Lancelot hit the not-dead-yet man on the head. The acting in the whole performance was very good, just as the singing was.The orchestra pit was great. The music blend so well with the singers that it was very beautiful. I also want to note that the costumes, lighting, makeup and sound were great! The scene with the chopping off the arms and legs of the guard was corny, but extremely funny. But then, how else would you do it? You wouldn't cut off the performer's limbs, would you? The voice of God was spoken by Gary Paccini, which made the scene even more sensational. Gary Pacini is the assistant principle at the Ruth Asawa San Francisco School of the Arts.

Prince Herbert had a very fabulous scene with his father preventing him from singing, but I was upset that we didn't get to hear the whole song. The homo-sexual side was funny, but a bit too revealing. I don't know if it is appropriate to write the word bra in my review, but I assume that if it is appropriate to run out on stage in bras and panties I can freely mention that in my review. When Prince Herbert and Sir Lancelot fell in love, a choir of boys in bras and short golden panties ran onto stage and started dancing. Sir Lancelot also tore off his shining armor, revealing his own set of drag queen clothing. Prince Herbert stayed in his blue gown, but put on a fruit hat with a banana sticking up on the top. At the very end of the song, he got in between Sir Lancelot's legs and the banana from his fruit hat produced a frivolous picture.

 Diva's Lament had a sort of humor to it, but at the same time the acting was extremely well done. The very end was triumphant and very uplifting. Despite some minor flaws, I found this show very entertaining!

Round of applause to performers Sean Goldring, Isidora Kecman, Kyle Miller, Charles Platt, Jules Cunningham, Elio Bucky, Nolan Ramirez, Max Tarlov, Jim Crowley, Alex Colter, Ian Scheiman, Ryan Doyle, Gabe Bibliowicz, Gabe Pothier, Margaux Brosnan, Ciara Carvajal, Gabrielle Chun, Briea Lemay Eder, Rachel Greer, Anisa Henry, Lucy Murphy, Molly Robins, Maya Rowe, Katrien Van Riel, Katarina Bone-Tsokolati, Summer Cuyjet, Julia Farrow, Kevin Lopez, Joe-Joe Kelly, Johnny Kelly, Jessica Makhlin, Jackson Paddock, and J.P. Viernes.

Also, lots of bravi to the orchestra, Madeline Tuning, Rain Talosig, Juliana Mastro, Shania Martin, J.P Wong, Jake Levy, Henry Hung, Myles Ehlin, Janis Stuurman, Leo Page-Blau, Ruben Sandoval, Kieran Briden, Redger Parker, Trent Tanzi, Simon Clinton, Joanie Shalit, Raina Christeson, and Alex Farrell, led by conductor and keyboardist Erika Weil.

And where would everyone be without the Theatre Tech? Another round of applause to director Keith Carames, technical director Paul Kwapy, and stage manager Sydney Gaudreau. The stage crew included Gabe Pothier, Celeste Lavelle, Ayla Macomber, Tristan Burnham, Reid Vinson, Reuben Kessler, and Liam Butler. The set designers were Tristan Vaca, Carlos Sandoval, Rosie Lee, and Reuben Kessler. Construction and painters crew consisted of Dexter Chew, Sam Garcia, Eduardo Nava Ayala, Katarina Bone-Tsokolati, Sotia Campos Moore, Sebastian Young, and Ari McGuire. Costume designers were Phoebe Longhi, Seneca Jeffries, Arthur London, Melissa Rodriquez, Ayla Macomber, Isabella Spicer, Nina Patchell, Deanna Hutchinson, and Marc Armitano. The lighting designer was Gabe Pothier and the lighting assistant was Tucker Predock. Light board operators were Will Rodriquez and Tristan Vaca. The spot light operators were Coleman Kennedy and Gabe Moore. The sound designer was C.J. Bauman. Sound effects were by Glenn Quilici. The sound crew was Sam Travers. The prop designer was Sydney Gaudreau and the prop master was Reuben Kessler. The prop crew was Kyra Monterrosa. Fly master was Carlos Sandoval. Fly crew was Gianluca Bullock, Carlin Macomber, Jeremy Calica-Rodgers, and Iain Langlands. The hair and makeup design were by Maia Knesevic. The hair and makeup crew were Rosie Lee, Maia Cluver, and Nina Patchell.


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