SPAMALOT, the musical comedy lovingly ripped off from the film classic, MONTY PYTHON AND THE HOLY GRAIL, returns to Broadway for the first time ever, following a record-breaking sold-out run at The Kennedy Center in Washington, DC.
Peter Marks of The Washington Post exclaims, “It’s UNFAIR to make me laugh this much! SPAMALOT is a tightly packed clown car speeding to musical theater nirvana!”
Everything that makes a great knight in the theatre is here, from flying cows to killer rabbits, British royalty to French taunters, dancing girls, rubbery shrubbery, and of course, the Lady of the Lake.
Seated at the round table are a royal court of jesters, filled with Tony winners, nominees, and Broadway favorites. Christopher Fitzgerald is Patsy, James Monroe Iglehart is King Arthur, Leslie Rodriguez Kritzer is the Lady of the Lake, Ethan Slater is Prince Herbert, Jimmy Smagula is Bedevere, Michael Urie is Brave Sir Robin, and Nik Walker is Sir Galahad. The role of Lancelot will be played by Taran Killam through January 7th. Alex Brightman rejoins the cast as Lancelot on January 9th.
The show opens on Thursday, November 16, 2023 at the St. James Theatre!
"So while I enjoyed the original Spamalot, which was a hit and won a Tony for Best Musical, I didn’t love it the way some others did. My reaction to its new and updated—if still slightly dated—Broadway revival, directed and choreographed with flair by Josh Rhodes, is more affectionate. True, this production lacks the outsider pedigree of Mike Nichols’s 2005 version, whose faintly above-it-all attitude (which extended to the expert performances of top-billed stars Tim Curry, David Hyde Pierce and Hank Azaria) was part of its appeal to audiences that were tentatively rediscovering the pleasure of musicals in a post-Producers world. But Rhodes’s cast of show-tune pros is highly capable, and the show’s laughter now seems more like it’s coming from inside the Broadway house. It’s a true ensemble effort"
"So, fine, it’s not for me. The cast is clearly having a good time – though only Ethan Slater, swapping through multiple characters, as well as Kritzer, Walker, and especially Killam tap into the all-out comedy the work requires. And the audience? Well, their holy grail was promised and delivered, without much work to obtain it."
"Frankly, I wish the revival, directed and choreographed by Josh Rhodes, had more of an explicit and distinct point of view, put itself in more interesting conversation with the original production and offered a deeper dive into the Python aesthetic, maybe as a bit of a necessary history lesson. There are times when the cast’s exuberance adds too much moisture to the sandpaper-dry humor and even gets in the way of Du Prez and Idle’s lyrics. As one example, Leslie Rodriguez Kritzer, fun as she is, would get more laughs if her Lady of the Lake focused first and foremost on the character, rather than the vocal pyrotechnics."
"Spamalot’s expertly written and performed silliness is endless, beguiling, and winning, and so well-done that—despite the gay and Jewish clunkers of songs—the musical remains a daffy, rollicking night out. The final confetti canon—a Broadway staple, and often a last desperate roll of the dice in any show—here feels absolutely perfect."
‘Spamalot’ Broadway Review: Monty Python Shows Its Age A revival of the musical skewers a bunch of shows that your grandparents adored Spamalot on Broadway
"Perfectly cast and splendidly performed, with Josh Rhodes’ deceptively no-frills direction (and choreography) placing the irresistible goings-on front and center, the revival has lost none of the smart-dumb charm of either the original musical or its great source of inspiration – the beloved 1975 film Monty Python and the Holy Grail."
Theatremania: Review: Monty Python’s Spamalot Returns to Broadway in a Test of Expiration Dates The first Broadway revival of Eric Idle and John du Prez’s musical is at the St. James Theatre.
"I was curious to see if Monty Python’s Spamalot, a musical comedy that debuted on Broadway during the second Bush administration, based on a beloved movie released during the incidental reign of Gerald Ford, has a shelf life longer than its namesake canned pork product.
The answer is yes, thanks largely to an excellent cast of consummate comedians and a script that derives its humor from the timelessly absurd. It’s still safe to eat, even if certain bites might taste a little off."
what a fun night. look, this can't and doesn't match the frenetic cutting edge energy of the original, and there are swaths of silliness that felt a little stale. but i lead with that nitpick because once you accept this is The Movie which became The Musical which is now The Revival, man are they doing a great job with it.
The theater was sold out and very enthusiastic, which in and of itself is fun. Michael Urie and Taran Killam and Nik Walker are simply hilarious at every turn, and are having a blast. If the Tony's were in a few months, I'd bet they'd all be nominated. Kudos to Ethan Slater who is totally committed and hilarious in his very many small roles here. And yes Kritzer walks away with her scenes, having been born to play this role (though I did miss Sara Ramirez's warmer voice, Kritzer shrieks a bunch, albeit quite impressively). She and Killam are ad-libbing, or at least updating the book for modern references, to great effect. And Inglehart sings really well-- I was totally disappointed by his Thomas Jefferson but found him more at ease here. Hes no Tim Curry, but neither were the various actors who replaced him, and Inglehart acquits himself nicely.
I still can't see this selling well through the winter, but its irresistibly fun, and our front row balcony seats were perfect. So thats a strong recommend here.
This seemed like the dumbest, stalest thing I've ever seen when I saw it at the Kennedy Center, but Green made it a critic's pick. Is it so much better on Broadway that I should buy a ticket, or should I just chalk it up to different strokes for different folks?
I saw it today with Graham Stevens. Didn't miss James Monroe Iglehart at all. Did not like the first act, but the second act was fantastic. If this was much like the original production, which I didn't get to see, I don't know how it beat Spelling Bee for the Best Musical Tony.
djoko84 said: "I saw it today with Graham Stevens. Didn't missJames Monroe Iglehart at all. Did not like the first act, but the second act was fantastic. If this was much like the original production, which I didn't get to see, I don't know how it beat Spelling Beefor the Best Musical Tony."
That is a question people will be asking for all eternity.