
Spamalot rides into the Windy City courtesy of Broadway In Chicago, inviting theatergoers to join King Arthur’s quest now through May 31 at the CIBC Theatre. Fans of Monty Python and the Holy Grail - the 1975 cult classic - will find plenty to adore in this musical, which, as its subtitle proudly declares, is “lovingly ripped off” from the film.
Written by Python member Eric Idle, with music co-written by John Du Prez, Spamalot follows King Arthur as he assembles his “very round table” and sets off in search of the Holy Grail. Along the way, we meet a parade of quirky knights: the brash, homicidal Sir Lancelot; the argumentative, hair-flipping Sir Galahad; the cowardly, weak-bowelled Sir Robin; and even Sir Not Appearing in This Show. Arthur’s greatest ally is the Lady of the Lake, a glittering, full-throttle diva armed with riffs and costume changes for days. After a bit of plot and a bounty of silly songs, the hapless heroes finally secure their grail and send audiences out humming the show’s signature tune, “Always Look on the Bright Side of Life.”
Interestingly, Spamalot had its world premiere in Chicago back in 2004 before heading to Broadway the following year, where it earned fourteen Tony nominations and won three, including Best Musical. This touring revival, directed and choreographed by Josh Rhodes, stays true to the original while injecting the production with fresh energy and a steady stream of contemporary pop-culture nods.
Spamalot’s target audience is, unsurprisingly, die-hard Python fans. Several scenes are lifted almost verbatim from the film, so expect the Black Knight losing limb after limb, the Knights Who Say “Ni,” the cow catapult, a hilarious - and genuinely ferocious - killer rabbit puppet, and more. For those less steeped in the British comedy canon, a few gags linger a beat too long, stretching to honor the movie’s rhythms even when the stage version might benefit from a quicker pivot.
Still, there is no end of splashy musical numbers, big set pieces, and dynamic, eye-catching projections. The cast pulls out all the stops as they don flashy costumes, dance their hearts out, and throw friendly meta-jabs at other Broadway musicals like Wicked and Fiddler on the Roof.

(L-R) Leo Roberts and Amanda Robles in the North American Tour of SPAMALOT.
Leading the charge as King Arthur is Major Attaway, who wears the crown well. Attaway is best known for his time on Broadway playing the Genie in Aladdin and his off-Broadway stint voicing Audrey II in Little Shop of Horrors - two roles that showcase his vocal dexterity, a talent he uses to full effect in this production. Along with golden pipes, Attaway voices Arthur with a stoic authority or a comedic twist, whichever the moment calls for. He is the perfect straight man for the zaniness that surrounds him - and there’s a lot.
Another standout is Amanda Robles, making her national tour debut as the Lady of the Lake. Robles tears into the role with gleeful abandon, spoofing Liza Minnelli and other prima donnas with razor-sharp precision. Numbers like “Diva’s Lament” and “The Song That Goes Like This” - both affectionate send-ups of classic Broadway tropes, from the obligatory second-act solo to the formulaic love ballad - are lifted even higher by her vocal prowess, impeccable comedic timing, and undeniable glamour.
Spamalot also boasts a vibrant ensemble, with actors juggling wildly different roles and giving each character distinct voices and mannerisms. Sean Bell steals multiple scenes - both as Sir Robin, a knight who has no idea what knighthood entails, and as an oddball priest with sharp, staccato delivery. From line readings to goofy facial expressions, it’s clear every performer is having an absolute blast, and that infectious joy radiates through the entire production.
As riotously funny as Spamalot is, parents should know that it isn’t especially kid-friendly. Younger audiences may laugh at the fart jokes and bits of bathroom humor, but the show also leans into cruder gags, sexual innuendo, and one very random - and entirely unnecessary - bare backside. It’s probably best suited to teens and adults rather than little ones, landing somewhere in that PG-13 neighborhood.
Spamalot, in a word, is silly - and proudly so. If you’re up for a night of unabashed absurdity, it’s an irresistibly fun choice. It has no interest in plumbing the depths of plot; its mission is pure fan delight. And judging by the uproarious laughter from the audience around me, the cult film’s devotees were more than satisfied. Others who aren’t as familiar with Monty Python or don’t favor dry or crude British humor might choose to seek to find their holy grail elsewhere.
This review is proudly shared with our friends at www.TheatreInChicago.com.
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Broadway In Chicago and Metra are pleased to announce a new promotion featuring nine shows coming to Chicago this summer: CHICAGO THE MUSICAL, LES MISÉRABLES, SPAMALOT, KINKY BOOTS, WATER FOR ELEPHANTS, SUFFS, & JULIET, THE NOTEBOOK, and THE OUTSIDERS. |
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Telegraph). Set against the backdrop of 19th century France, LES MISÉRABLES tells an enthralling story of broken dreams and unrequited love, passion, sacrifice and redemption – a timeless testament to the survival of the human spirit. The magnificent score of LES MISÉRABLES includes the songs “I Dreamed a Dream,” “On My Own,” “Bring Him Home,” “One Day More” and many more. |
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The original Broadway production was nominated for fourteen Tony Awards and won three, including best musical. The musical comedy lovingly ripped off from the film classic, Monty Python and the Holy Grail, SPAMALOT features well-known song titles such as “Always Look on the Bright Side of Life,” “The Song That Goes Like This,” “Find Your Grail” and more that have become beloved classics in the musical theatre canon. |
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by Cyndi Lauper, book by four-time Tony Award-winner Harvey Fierstein , and original direction and Tony-winning choreography by Jerry Mitchell. |
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dazzling” life (Time Out New York) in a unique, spectacle-filled new musical! Hailed as a Critic’s Pick, The New York Times calls it “stunning, emotional, heart-filled and gorgeously imaginative.” |
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musical SUFFS about the brilliant, passionate, and funny American women who fought tirelessly for the right to vote. Created by Shaina Taub, the first woman to ever independently win Tony Awards for Best Book and Best Score in the same season, this “thrilling, inspiring and dazzlingly entertaining” (Variety ) new musical boldly explores the triumphs and failures of a struggle for equality that’s far from over. Winner of the Outer Critics’ Circle Award for Best New Musical. |
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ditches her famous ending for a fresh beginning and a second chance at life and love — her way. |
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songs” (Entertainment Weekly), THE NOTEBOOK is a deeply moving portrait of the enduring power of love, and features music by singer-songwriter Ingrid Michaelson and a book by TV’s Bekah Brunstetter (“This Is Us”). |
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who they want to become in a world that will never accept them. THE OUTSIDERS features Danya Taymor’s Tony Award winning direction that’s “refreshing, gritty, and endlessly effective.” (The New York Times). With “high-octane choreography” (New York Magazine), THE OUTSIDERS has been described as “more pulse-pounding than anything else on Broadway!” (Time Out New York). |
If you’ve ever enjoyed the 1975 film “Monty Python and the Holy Grail”, then “Spamalot” is definitely for you. But even those who have never seen the classic comedy would be hard pressed not to relish the musical proudly tabbed as “lovingly ripped off from the motion picture”. Now playing at the Theatre at the Center in Munster, Indiana through October 18th, “Spamalot” brings its witty English humor to your doorstep – well, at least just a short drive away. From its opening number “Fisch Schlapping Song” to its roaring finale “Always Look on the Bright Side of Life”, this is a musical that never runs out of funny.
Celebrating 40 years since the film was released, “Spamalot” comes with a renewed score created by Eric Idle and John Du Prez. Directed flawlessly by David Perkovich and choreographed to perfection by Linda Fortunato, each number captures just the right amount of physical comedy needed to score high on the funny meter while also keeping the integrity of Monty Python humor firmly intact. Colette Todd, is stunning as she is humorous as the “Lady of the Lake”. A true talent, Todd gets to show off her impressive vocal range on many occasions and also dazzles the crowd with her spot on comedic chops. Comic timing is vital in Theatre at the Center’s production of “Spamalot”. Chicago favorite Larry Adams knows this and is more than up for the challenge as he takes on the leading role of King Arthur and runs with it. Adams really brings down the house in his very funny rendition of “I’m All Alone” and is just marvelous as the often oblivious king who must lead his men in the search for the Holy Grail.
The cast as a whole is impressive and many play multiple roles. With wonderful performances by Jarrod Zimmerman (Sir Dennis Galahad, Dennis, Black Knight and Herbert’s Dad), Sean Fortunato (Sir Lancelot, The French Taunter, Knight of Ni and Tim the Enchanter) and a very strong ensemble, I only regret not naming the entire cast in this review because they all deserve their kudos.
“Spamalot” is a spin on King Arthur and his Knights of the Round Table like never done before. Its unique Monty Python humor is heavily instilled into each bit of dialogue as well as its many colorful and hysterical dance numbers, making this the perfect musical production to add to your calendar.
“Spamalot” is smashing.
For show information and tickets visit www.theatreatthecenter.com.
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