The production, reviewed by Elizabeth Flux Metal, opened to an audience that laughed “as though it were the first time” they heard the iconic coconut‑transport debate, a testament to the show’s enduring absurdist charm.
Spamalot, which lifts its core plot and several songs from the 1975 film Monty Python and the Holy Grail, adds a host of new numbers co‑written by John Du Prez and retains the original’s penchant for breaking the fourth wall, a technique that Eric Idle continues to employ through a pre‑recorded video of himself playing God.
Stephen Curry’s King Arthur leads a troupe of knights on a quest for the Holy Grail, while the musical’s book and lyrics, penned by Idle, weave in nods to classic works ranging from West Side Story to Liza Minnelli, keeping the material fresh for both longtime fans and newcomers.
The cast includes Jaz Flowers as the flamboyant Lady of the Lake and Ethan Jones as Sir Galahad; Flowers’ powerful vocals and comedic timing dominate her scenes, and her duet with Jones in “The Song That Goes Like This” was highlighted as a particular high point.
While many jokes are lifted directly from the original film, the new songs hold their own against the older repertoire, demonstrating that the musical’s score has aged well and continues to deliver “vibrant, fun and silly” moments, as the reviewer notes.
Spamalot’s longevity is underscored by its 20‑year anniversary of winning the Tony Award for Best Musical; the latest run shows that the show’s blend of absurdity, wordplay and occasional social commentary on inequality and bigotry still resonates in today’s theatrical landscape.