Spamalot Review: Always look on the Bright Side of Life

In the heart of Broadway, the St. James Theater plays host to a riotous revival of Spamalot. This irreverent romp through Arthurian legend, infused with the unmistakable flair of Monty Python, reminds us that the comedy of Monty Python is not dead yet.

Spamalot assembles an all-star cast that includes Taran Killam as Sir Lancelot, James Monroe Iglehart as King Arthur, Leslie Rodriguez Kritzer as the enchanting Lady of the Lake, Ethan Slater as the quirky Historian/Prince Herbert, Michael Urie as the delightfully dim Sir Robin, and Nik Walker as the suave Sir Galahad.

One of the true delights of this Spamalot revival is its clever incorporation of Monty Python’s signature meta-humor. The show is a treasure trove of inside jokes and not-so-subtle references to Broadway shows of the past. From a playful jab at “Wicked” to a full or rip of choreography from “Fidler”, the production weaves a tapestry of comedic tributes that will leave theater aficionados grinning from ear to ear.

The show’s self-awareness is evident in every meta moment, from the exaggerated set changes to the knowingly over-the-top musical numbers. The script cleverly navigates the line between parody and tribute, ensuring that even as it mocks the conventions of Broadway, it does so with a deep affection for the art form.

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As the knights embark on their quest for the Holy Grail, the script is peppered with Monty Python callbacks that would make even the most stoic theatergoer crack a smile. From clever wordplay to absurd sight gags, the humor is unapologetically Pythonic, creating an atmosphere that is as infectious as it is entertaining.

The success of Spamalot’s humor lies in the impeccable comic timing of its cast. From perfectly executed pratfalls to expertly delivered one-liners, every member of the ensemble contributes to the symphony of laughter that permeates the St. James Theater.

James Monroe Iglehart’s King Arthur is the perfect straight man, playing foil to the absurdity that surrounds him with a deadpan delivery that enhances the comedic impact. Taran Killam’s physicality as Sir Lancelot adds a layer of slapstick hilarity to the proceedings, creating moments that had the audience in stitches.

Taran Killam, channeling his inner Python, brings a delightful mix of bumbling bravery and questionable chivalry to the role of Lancelot. His comedic prowess shines through, making every misstep and misguided sword swing a punchline in itself. Killam feels at home recreating iconic moments from Monty Python’s Holy Grail delivering classic sequences from the film perfectly.

As the not-so-brave Sir Robin, Michael Urie brings a delightful blend of charm and frailty to the stage. Urie’s portrayal captures the essence of Python humor, with every exaggerated expression and perfectly timed quip hitting the mark. Nik Walker, as Sir Galahad, exudes suavity and sophistication while embracing the inherent absurdity of the character, creating a memorable addition to the already stellar cast. While we don’t vote for Kings, our vote goes to Walker for his standout performance, offering improvised expressions that often had us in hysterics.

While the knights may be the stars of the show, it’s Leslie Rodriguez Kritzer as the Lady of the Lake who steals the spotlight and our hearts. In a performance that can only be described as Pythonic perfection, Kritzer delivers a showstopping rendition of “The Lady’s Lament.”

Her vocal prowess, combined with a hefty dose of melodrama, had many in the audience not just clapping but jumping to their feet in a spontaneous ovation. With a sly wink and a nod to the absurdity of the role, she commands the stage with a presence that is both commanding and hilariously self-aware. Kritzer channels greatness on a scale that should have her in the discussion for a Tony-Award nomination. Her performance was that damn good.

Crafted by Paul Tate dePoo III, the digital backdrop offers a simple but effective solution. The projections, influenced by the unmistakable Python-esque animation style pioneered by Terry Gilliam, take on a pivotal role in shaping the production’s aesthetic.

Several effects embrace a deliberately (and charmingly) do-it-yourself ethos, exemplified by the catapulted (or more accurately, casually tossed) cow and the menacing bunny with a taste for blood. Despite their intentionally DIY nature, these effects seamlessly integrate into the show’s self-aware and comedic approach, adding a delightful layer of absurdity to the overall visual experience.

As the curtain rises on this uproarious journey through the realm of Spamalot, one can’t help but feel like they’ve been transported to a world where knights say “knee-slapping” instead of “ni,” and the Lady of the Lake reigns supreme with vocals so enchanting they could make a lumberjack weep.

This revival is more than just a flesh wound to the conventional norms of Broadway; it’s a triumphant quest for the Holy Grail of hilarity. Whether you’re a die-hard Python enthusiast or a casual theatergoer seeking a night of absurd escapades, Spamalot’s revival is an unmissable spectacle that will have you looking on the bright side of life as you exit the theater.

Tickets are available at https://spamalotthemusical.com/ Spamalot opened November 16, 2023 and is in an open run at the St. James Theater located at 246 West 44th Street New York, NY 10036.

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