I was fortunate enough to see the 2005 Tony-winning Best Musical
Spamalot on Broadway, starring the likes of Tim Curry, David Hyde Pierce, Hank Azaria, Christian Borle, and Sara Ramirez, who won the Tony for her role and to this day is my gold standard for comedic singing. It was (unsurprisingly) my first introduction to the world of Monty Python, the British comedy troupe on whose work the musical is based. Eric Idle, one of the members, wrote the book and lyrics, working with frequent collaborator John Du Prez on the music. Despite having no prior knowledge of the material, I loved the show, and am still perplexed that (to my knowledge) there have been no local professional productions of it. The show has toured several times, and was revived on Broadway in 2023. That production is currently touring the US, and has stopped in St. Paul at the Ordway Center for one week only, before it's
replaced by the return of the Queens of SIX, which actually played the Ordway before its Broadway debut, where it won two Tonys and is still playing. But first,
you have only a short time to experience the joyful silliness of Spamalot, a fourth-wall breaking show that doesn't try to be anything other than it is - brilliantly stupid comedy.
Spamalot, based on the film Monty Python and the Holy Grail with a bunch of pop culture and musical theater references added, very loosely retells the legend of King Arthur and Camelot. The story of the good King of the Britons, gathering noble Knights, searching for the Holy Grail, and fighting for England is merely the framework upon which to hang the fart jokes and clever wordplay. Director/choreographer Josh Rhodes and most of the design team from the original Broadway production reunited for the 2023 production, making it likely more of a remount than a revival. A few pop culture references have been updated in this 20-year-old musical (e.g., Britney Spears becomes Taylor Swift), but it is primarily the same silly and hilarious show I remember.
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| photo by Matthew Murphy and Evan Zimmerman |
What is probably new in the last 20 years is the liberal use of video projections that turn the castle wall, and a forest screen lowered over it in the second act, into various other locations. It has a cartoonish quality, but is not unpleasant, and provides almost a movie-like backdrop for the live action, with plenty of outrageous practical props. Costumes are a brightly colored version of what we think the Middle Ages looked like, with some fun anachronistic stuff thrown in, and countless gorgeous gowns for the Lady of the Lake (scenic and projections design by Paul Tate DePoo III, lighting design by Cory Pattak, both of whom designed
The Great Gatsby seen at the Orpheum just last week, which also relied heavily on projections, and costume design by Jen Caprio, who designed the stunning costumes for
Cabaret at the Guthrie last summer).
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| photo by Matthew Murphy and Evan Zimmerman |
In typical comedy troupe fashion, the core group of performers dons many hats (literally and figuratively). The one exception is Major Attaway who only plays King Arthur, and does it well - funny and kingly, with a warm rich voice. Blake Segal is his right-hand man (and coconut sound effects man) Patsy, among others; understudy Graham Keen is a great not-so-brave Sir Robin who finds himself in musical theater; Leo Roberts is the handsome Sir Galahad and a prince's father with a thick Scottish brogue; and Chris Collins-Pisano may be having the most fun as the gallant Sir Lancelot, and the most ridiculous French taunter, and the Knight who says Ni. Last but not least, Amanda Robles bravely steps into Sara Ramirez's shoes (and
Ted Lasso's Hannah Waddingham's, who originated the role on the West End) and makes the role of the Lady of the Lake totally her own, with impossible runs and other vocal gymnastics, managing to sound fantastic while also being hilariously over the top.
The fun, clever, and endlessly singable score is performed by a nine-piece pit orchestra, including six local musicians, conducted by music director Jonathan W. Gorst. The talented ensemble plays many roles and effortlessly performs the fun and energetic choreography, although I imagine it's harder than they make it look and they're quite exhausted by the end of the show!
