Oratorios are large musicals composed of a choir, soloists and an orchestra. Though similar to an opera, oratorios resemble a staged reading. There's a lot of singing, little interaction between actors and everything plays out like a concert. One of the most famous oratorios is Handel's Messiah, which Not the Messiah (He's a Very Naughty Boy) looks to for inspiration.
The point of my theatre lesson is, without some sort of understanding of what Not the Messiah is, it sounds like a boring bit of nonsense. Then again, this is Monty Python, so nonsense is expected, but at least it isn't boring.
Not the Messiah is based on the 1979 Python classic, The Life of Brian. A boy named Brian (William Ferguson) is born a few doors down from a chap named Jesus. The timing leads to confusion. A lot of people think he's the Messiah. Brian isn't sure what to think and his mom just thinks he's a naughty boy. Brian's life falls under scrutiny and he runs away to join The People's Front of Judea (not to be confused with the Judean People's Front), an anti-Roman group led by Reg (Christopher Purves). Brian can't escape forever and he has to convince the world he's not the Messiah.
I know it's probably considered blasphemy, but Life of Brian is my favorite Python movie. Not the Messiah only provides a loose skeleton of the film's plot, but is no less enjoyable. Basically, it tosses out a lot of the film's character development in favor of a 90-minute concert of the entire plot. Even without the group's signature jokes, songs still provide a lot of laughs. The production tosses in several musical styles, giving the entire piece an impromptu feel. Songs cover most of the film's major jokes. There's "I Want to Be a Girl," followed by the happy-go-lucky crucifixion song, "A Fair Day's Work." All of the songs are overshadowed by the closer, "Always Look on the Bright Side of Life." It's uplifting and worth hanging around for just to sing, whistle and even tap your feet along with the cast.
What comedic magic the music doesn't manage to capture is provided by host Eric Idle and surviving Python alums Michael Palin, Terry Jones and Terry Gilliam. Idle is flanked by an excellent group of soloists, but his excellent sense of timing is what really makes the show tick. The other Python stars' parts are small, but even a few minutes on stage with a Python member is better than education, roads, irrigation and any of the other things the Romans have ever done for us. It's all absurd, but in the best possible sense of the word.
Not the Messiah is light on extras, but what's here is enjoyable. Most revolve around the production, including the process of adapting the film into a musical. "The Road to Albert Hall" covers the music, soloists and even it's connections to Handel's Messiah. Sing-Along versions of the bigger numbers are also available.
I wouldn't be surprised if Not the Messiah evolved into a Broadway production at some point. It's a more lighthearted, madcap approach to theater, but incredibly enjoyable. The humor is going to speak mostly to Python fans (if you can't find the humor in crucifixion, this isn't for you). Even then, between the production values, music or outright absurd nature (puppets! Bob Dylan!... Sombreros!), something will speak to you.
If not, you're probably Roman.
