Monty Python’s Spamalot

Monty Python’s Spamalot

Did I really need to see the current revival of Monty Python’s Spamalot on Broadway?  I love the original, delightfully idiotic film which makes me chuckle every time the knights say “Ni!”  I enjoyed the original musical adaptation starring Tim Curry in 2005.  Fans of the material – and of talented theater gents (and one major diva) – should pounce like a hungry killer rabbit in search of some bloody fun.

This incarnation is not materially different in terms of jokes, gags, songs, over-the-top performances, silliness and intentionally offensive humor.  The French, Jews, gays and, most lovingly, the Brits are mercilessly mocked for laughs.  That’s good news because the current climate could have encouraged a tone change or two.  That would destroy this material.  The winking and knowing self-mockery, as much as the amputations, must remain for Spamalot to work.

Monty Python and the Holy Grail was a spoof of all things medieval by a very talented troupe of English actor/writers.  The plot is nominally about King Arthur’s quest to search for the Holy Grail.  It’s a truly pathetic effort as evidenced by the fact that he has no horse.  In the film his “Patsy” accompanies him and pretends to give the journey gravitas.  Clicking coconut shells together make the approximate hoofing sound.  The generally well-versed audience roars in recognition of the classic film moment.  Others seem to appreciate the abject silliness.

Seemingly everything in the film is present onstage in the book by Monty Python member Eric Idle.  Josh Rhodes directed and choreographed this version.  All the performers are given stellar shining moments to make their case for glory, for country, for scenery chewing, for coming out of the closet, for looking on the bright side and for nakedly killing it.  I had a great time and the show made me leave happily entertained, far beyond my expectations.

Who to single out?  Taran Killam is a terrific Sir Lancelot but his raspberry turn as The French Taunter may never, ever be bested.  Michael Urie (Buyer & Cellar) portrays scaredy pants Sir Robin who is relatively subdued until his second act double feature of “Brave Sir Robin” and “You Won’t Succeed on Broadway”.  Ethan Slater (SpongeBob Squarepants) plays eight small characters, all of them hilariously.  Hard to pick a favorite from his many high points so I’ll go with Not Dead Fred, Baby and Prince Herbert.

James Monroe Iglehart (Aladdin) and Christopher Fitzgerald (Waitress, Young Frankenstein) are the centers of the show and hold the reins (or pretend to) admirably.  Scattered into this testosterone mix is The Lady of the Lake.  Channeling every belter who has ever demanded the spotlight, Leslie Rodriguez Kritzer (Beetlejuice!) eats the scenery with ferocity and some great zingers.  Of course she nails all of her big songs (and she will let you know there are not enough of them).

The doldrums of winter coupled with the heinous start to another disgraceful Presidential election cycle is our current Dark Ages.  Spamalot exists to remind us that, even though we citizens may be armless and legless, we can still stand up to the taunting man and let love – and laughter – reign supreme.  This musical revival is for those of us who desperately need to look on the bright side of life.

Spamalot is currently searching for a shrubbery at the St. James Theatre.

www.spamalotthemusical.com

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