Spamalot

www.mestohudby.cz, 30.04.2018:

Spamalot in Brno: an amazing pleasure 

...Everything is coordinated with the colours in the fairy tale. The highly successful production design by Christoph Weyers is deliberately only two-dimensional and pays homage to the Flying Circus artist Terry Gilliam and his characteristic animations. Some of Gilliam’s typical motifs, such as the giant foot or the index finger of God, appear in the production. The pleasurable stage-setting exaggerations, which are lovingly worked out in detail, are also worth mentioning. These unmistakably underline in an absurd way the historical reminiscence of the early English Middle Ages… 

Kateřina Šebelová, www. epochtimes.cz, 01.05.2018:

Monty Python’s Spamalot or the World according to the Slovaks 

...The audience can enjoy a fairytale-like, two-dimensional stage by Christoph Weyers. This magical setting takes the audience to the mythical castle of Camelot, into a spooky forest full of ghosts and on a journey with Arthur and his knightly retinue, into ever new worlds. The scenes are complete with the ubiquitous Monty Python look, animating the audience to fully enjoy this fairy tale for adults.... 

Peter Stoličný, www.musical-opereta.cz 04.05.2018:

Monty Python makes an entrance in Brno 

...If we compare the stage design of the Broadway musical with the one in Brno, this one is definitely better in the local musical theatre. Christoph Weyers developed the décor as an extremely kitschy and decorative element. It is a a journey back in time to theatre sets of the 19th century, where the background formed a perfect illusion of reality. The balancing act between the colourful world of theatre and the lovingly designed historical images of knights, which always put a smile on your face, is also well done... 

Luboš Mareček, Mozaika (Mosaic) programme, Czech Radio Vltava, 07.05.2018:

...As far as the visual concept of the musical is concerned, it was designed for the Brno City Theatre by Christoph Weyers. Has he stayed true to the legacy of the Monty Python piece? Yes, completely. An imaginative fairy tale leporello for adults unfolds in front of the viewer. Everything is deliberately defined by colourful fabulousness where the audience is trapped in the two-dimensionality of Weyers’ stage. The set is a tribute to Flying Circus illustrator and director Terry Gilliam and his signature animations. So the viewer actually sees some unmistakable motifs, God’s huge finger or foot appear from the ceiling and the voice of God thunders from offstage to Arthur telling him he should not look up God’s skirt…