The new production of Spamalot, the 2005 spoof “lovingly rippped off” from the classic Python parody of the Arthurian legend, “Monty Python and the Holy Grail,” is riotously funny. Directed and choreographed with guffaw-inducing abandon by Josh Rhodes and first seen at Washington’s Kennedy Center, maintains the outrageous irreverence of the group’s original TV series and films as a cast of expert zanies reenacts the familiar bits from the film and expanded musical sequences. Eric Idle, an original member of the legendary British comedy troupe, wrote the book and lyrics and co-composed the music with John Du Prez. All his routines and songs hold up marvelously well, and a few updates (presumably by Idle) include riotous gags referencing Beyonce and disgraced Congressman George Santos, plus a surprise (recorded) cameo by Steve Martin.
The cast, most of whom are repeating their performances from the Kennedy Center production, couldn’t be better. James Monroe Iglehart captures King Arthur’s pompous self-importance and frustration when confronted with peasants who have no idea they have a monarch and he’s it. Michael Urie makes a chuckle-worthy coward as the cringing Sir Robin and dazzles as he discovers his passion for musical theater, allowing for some delightful ribbing of Broadway trends.
Nik Walker is a virile Galahad, while Taran Killam, Ethan Slater, and Christopher Fitzgerald display versatility in a number of insane roles, especially Killam’s Lancelot who discovers his gay side, Slater’s Not Dead Fred and the lovelorn Prince Herbert, and Fitzgerald’s Patsy (Arthur’s servant who provides the sound of horse hooves by banging two coconuts shells together). But even in this company of stratospherically high comics, Leslie Rodriguez Kritzer is an outstanding clown. As the Lady of the Lake, she satirizes noble heroine and show-biz-cliches with razor sharp precision. Paul Tate dePoo III’s cartoonish scenic and projection design and Jen Caprio’s witty costumes keep us in the wacko, off-kilter world combining medieval and modern times.
My only caveat is Rhodes tends to milk some of the famous Python bits too long. The taunting Frenchman spends several minutes blowing elaborate raspberries at Arthur’s troops, and the Lady of the Lake’s faux lounge act introducing us to the court at Camelot lingers a bit too long. Mike Nichols who staged the 2005 version wisely let the jokes stand alone without added directorial embellishment. But better too many laughs than too few, and this Spamalot has enough for two or three shows.
