Review: "Spamalot" Delivers Hilarity on a Holy Grail Quest at Fox Theatre

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Spamalot Injects Modern Humor Into The Dark Ages

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The world of Arthurian legend is turned on its head in Monty Python’s Spamalot . With a book and lyrics by Eric Idle and music by Idle and John Du Prez , the Tony Award-winning musical captures the essence of the 1975 film it loosely adapts.

Now onstage at the Fox Theatre, this gloriously silly, self-aware, and delightfully stupid show entertains from start to finish with a bevy of sight gags, fart jokes, goofy accents, physical comedy, and catchy songs.

However, beneath all the irreverence and poking fun at Broadway, lies a musical with a lot of heart. The production’s frivolity makes it utterly enjoyable. Directed and choreographed by Josh Rhodes , Spamalot is best enjoyed by simply going along for the ride.

Set in 932 A.D., the razor-thin plot involves King Arthur, who has been dispatched by God to find a sacred relic, the Holy Grail. Knowing he can’t do this alone, he sets out across the land to assemble a team of knights to assist him.

Sadly, those he’s chosen to aid him are rather inept. There is “Brave” Sir Robin, who has a penchant for running away, the homicidally handsome Sir Lancelot, whose aggressive tendencies hint that he has some things to work out, the strangely flatulent Sir Bedevere, whose skills of deduction are rather suspect, and the dashingly handsome “Dennis,” also known as Sir Galahad, who simply has no interest in chivalry. Also along for the trip is the Lady of the Lake, a diva who never has enough stage time.

Together, this motley band sets out on their quest. Along the way, they break the sacred fourth wall as they bicker about who gets to be in the show, the production’s sparse budget, and life in show business.

All of the classic Monty Python bits and pieces are there: the French taunter, Tim the Enchanter, the Black Knight, a seemingly genial killer rabbit, and Sir Lancelot’s big dance number. Thrown together, these benchmarks of comedic gold string themself out before spiralling into anarchy.

The fall into absurdity is fast, as the elements coalesce into a rather nonsensical crescendo filled with audience participation and total bedlam. With no linear narrative and plenty of anachronisms, Spamalot may not be what Broadway purists expect. But that’s the point and why it remains such a wonderful escapade of theatrial entertainment.

Parodying medieval legends, stuffy theater goers, Broadway executives, and show business in general, this touring edition of the show is a fast-paced, laugh-filled frolic. Perfect for Anglophiles, die-hard fans of Monty Python, and audiences looking for something outside the lines of traditional Broadway fare, Spamalot is simply funny,.

Guiding Spamalot is a terrific cast. On the night of this review, Ellis C. Dawson III took on the mantle of King Arthur. His comedic timing and rich voice made for a regal turn.

Taking on multiple roles, Chris Collins -Pisano was also outstanding. His Knight of Ni was perfectly annoying, his French Taunter was the perfect jerk, and his Tim the Enchanter was hilarious. But it was as Sir Lancelot that the versatile actor shone, especially through His Name Is Lancelot, which featured him laying down some camp disco bravado.

Amanda Robles ’ voice is otherworldly. Starring as the Lady in the Lake, she brings all the diva feels. Her commanding presence enables her to capture every scene she is in. Her singing on The Song That Goes Like This and Diva’s Lament is terrific.

Also great is Sean Bell as Sir Robin. His comedic flourishes make for some of the show’s best moments. Playing an ineffable coward, he relishes the opportunity to take things completely over the top. As a result, his performance is great to watch.

Also shining brightly are Leo Roberts as the Black Knight and Sir Galahad, and Steven Telsey in several roles, but most notably as the story’s doomed narrator.

Spruced up from its original version, this production is enhanced with video projections and crisper animation. It also features peppy music, an incredible ensemble of dancers, and incredible costumes.

Raunchy, camp, silly, and idiotic, this quest for the Holy Grail could not be more hilarious. Pairing a talented cast with earworm-worthy ditties like I Am Not Dead Yet and Always Look on the Bright Side of Life, makes Monty Python’s Spamalot fantastic fun!

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_Originally reported by [BroadwayWorld](https://www.broadwayworld.com/st-louis/article/Review-Absence-of-Chalice-MONTY-PYTHONS-SPAMALOT-at-Fox-Theatre-St-Louis-20260511)._