🎭 The Ministry of Silly Theatre | "Spamalot" @ Pantages/BIH

[cahwyguy]

Just as with movies, there are some theatre shows that are worth seeing again and again, and there are some that are one and done, unless there’s some extenuating circumstances. The “Bridges of Madison County”? It never caught my attention that much, and I’m not sure I’d see it again unless it was part of a season. Most Sondheim shows? I’ll see those again and again, because there are often new interpretations. Things like “Hamilton” or “Wicked”? Possibly, if there is sufficient time between the last time I saw the show or something different. Often, what prompts seeing a show again is a reimagining or a unique venue: For example, the recent “A Color Purple” at Chromolume was interesting to see again because the company was taking a show that was intended for a large theatre and doing it in a 74 seat black box. Similarly, “The Play That Goes Wrong” at 5-Star was interesting as it was a regional theatre production, vs. a community theatre (Canyon Theatre Guild) or a tour (Ahmanson). On the other hand, I’m not all that interested in “The Sound of Music” tour coming to the Pantages: I’ve seen it innumerable times, at all level of theatres, and there are really no new reinterpretations of the productions. You turn your brain off to the story, and just watch the performances. It is a showcase for up and coming talent, and not much more.

This brings us to Spamalot, which was saw last night at the Pantages/Broadway in Hollywood. We last saw this in 2009 at the Ahmanson, when I wrote:

I should also note that I don’t believe this is a show that will have a long future of revivals. I’m not sure the Python-bits are that timeless, and the parodies of other shows will become less funny as time goes on. Rarely do you see the topical humorous reviews such as “New Faces of 1952” or “Parade: A Musical Review” (the one by Jerry Herman) revived, no matter how good the material. Combine that with some of the unique technical projection requirements of this show (which cuts out the high school half life)… and my conclusion is that you should see this tour now. I’m not sure we’ll be seeing it in 2020 (whereas we might see “The Producers”).

So why did we see it again? Well, primarily because it was part of the season. But as it got closer, we were looking forward to it. It was a reliable source of laughter, and that’s something we all need these days. This production was the tour-mounting of the 2023 Broadway revival. It’s been a long time since we last saw it, and there haven’t been all that many local, community, or regional productions. What did I think of it? All things in good time.

If you’re not familiar with Spamalot, here’s how I described it back in 2009:

One group that was popular [in my high school days, i.e., the 1970s] in my circles was a comedy troupe known as Monty Python. Their BBC program (or should that be programme), Monty Python’s Flying Circus, was just hitting PBS in the US at that time, as was their movie, “Monty Python and the Holy Grail (“Monty Python’s Life of Brian” hit while I was in college). We watched those shows and those movies again and again. And again. And again. And again. Eventually we got so we could recite the jokes and scenes in our sleep. You could just say, “the dead parrot sketch”, and folks would know what you meant.

I note this all as background, because today we went to go see “Monty Python’s Spamalot” at the Ahmanson Theatre. As the cover states, Spamalot is “lovingly ripped off” from “Monty Python and the Holy Grail,” with the nibbly bits of “Life of Brian” tossed in. The show features book and lyrics by Eric Idle, and music by Eric Idle and John DuPrez, based on a screenplay by Monty Python. The story is roughly that of “Holy Grail”: Arthur gathers his knights together and goes looking for the Grail. You can find a full synopsis in the Wikipedia entry, but suffice it to say that all the favorite and expected Python bits are there: killer bunnies, cow catapults, farting French, gay jokes, cocoanuts, arguments about swallows, the Black Knight, etc. There are also other bits thrown in that are various parodies of the musical theatre biz, from the ethnicity of successful show producers, to parodies of numerous shows and composers. In the end, everyone finds their grails, and the show ends with a group sing-along.

Therein lies the success of the show, and theirin lies the problems. If one is a neophyte to Monty Python, the recycled bits are likely uproareously funny. If one is a rabid Python fanboy or fangirl, the bits are mandatory… and uproareously funny. If you are someone familiar with Python and to whom repeated humor become less laugh-out-loud the more often you hear the joke, the Python bits become checkmarks on a page. However, this is not to say the show isn’t funny: what saves the show is the new material. Although some is weak (the whole notion of Laker Girls as the cheering squad for the Lady of the Lake, the eventual Queen Gueneviere), some of it is spot-on, in particular, “The Song That Goes Like This” (which is a Phantom of the Opera parody), “You Won’t Succeed on Broadway” (which is a parody of “Fiddler”, and arguably a parody of every Mel Brooks musical), and “I’m All Alone”. Other songs, although drawn from the Python canon, are very well executed and enjoyable, in particular “I Am Not Dead Yet” and “Always Look on the Bright Side of Life”. Our production had an extremely cute topical number inserted about Sarah Palin to the tune of Frère Jacques. I also enjoyed Patsy’s line near the end, but I won’t give it away. So overall the show is enjoyable, and you walk away humming tunes. I guess that’s the meaning of success… even without Jews.

Watching the production in 2026, the recycled bits for one familiar with the show are less funny, but they were still interesting with respect to the audience reaction. The audience was anticipating them, and interacting with them: an it was that interaction that was funny. There was the extra applause that the favorite bits were reached. There was the audience calling out to the actors. Spamalot has become a participation show, and that adds to the fun. I can imagine that something similar will happen in the new Broadway revival of Rocky Horror.

The other thing that makes this show worthy of repeat is that it isn’t the same show as in 2009. Whereas, as noted above, there were jokes about Sarah Palin in 2009, those jokes were gone in this production. There were a few Trump jokes, and many more topical references inserted into the show. A recent interview with Eric Idle in the LA Times noted that he is constantly tinkering with the show to improve it. The show also has places where the fourth wall is broken, and places where improvisation is explicitly encouraged (for example, I’m sure the renaming of the Knights that say “Ni” is improvised each night to befuddle the actor that plays King Arthur). This improvisation keeps the show fresh and keeps the actors on their toes (and is something you never see in a static movie).

So this show was thoroughly enjoyable, made even better by the excellent tour cast. Major Attaway, as King Arthur, honed his skill doing the Genie in Aladdin. You could clearly tell he was having fun with this performance, especially with his facial expressions and reactions. He felt comfortable enough in the role to play with it, and this is the type of show that encourages that play (contrast this, for example, with Hamilton, which is very tightly scripted and choreographed with no changes possible). Attaway was having fun playing off his compatriots in crime, Sean Bell as Sir Robin, Steven Telsey as the Historian, Blake Segal as Patsy, and Leo Roberts as Galahad. Adding to this insanity was Amanda Robles as the Lady of the Lake, who was having fun with her diva role. She’s a bit more constrained, as she can’t adlib the music, which requires orchestral coordination, but she was still able to keep up with the fun (especially in the closing sequences).

On the whole, the combination of this cast and the improvisation and the updating of the bits made this a really enjoyable remounting.

There were, however, some complaints. My primary complaint is the overdependence on projections. I understand that projections reduce the cost of Broadway productions, and make possible some scenes that can’t be done otherwise (the travel scenes in Anastasia come to mind). But overdependence on projections can make shows impossible to mount outside of the original tours and Broadway productions as local and regional theatres don’t have the means to duplicate the projections, nor the budgets to implement real sets to replace them. In the case of this production of Spamalot, the castle sets and projections were spectacular, but overdone. I understand the need for the projection of God, as that was done in the Python animation style. But much of the other projections were clearly cost saving, such as the torches during the “Dennis” scene, or the storms or sunlight or backgrounds and such. The tendancy seems to be to use projections to replace stage-craft magic. It does save cost; the environmental savings are unclear dependent on how much the LCD sets are reused. But something is lost, and it does make some jokes fall flat. A good example of this is the opening joke at the start of Act II about being lost in a very expensive forest set. Well, that doesn’t work when your forest is primarily a projection on a screen used throughout the show.

I must also insert my usual note about the confetti cannon. I think Spamalot deserves the blame for introducing this in 2009. Nowadays, every show seems to think they need a confetti cannon to show non-recyclable shit into the audience. Whereas it made a nice conclusion at the end of the sing-along originally, it has become overdone.

The confetti cannon is an example of what I call the sustainability problem in both theatre and movies. Think about all the sets that get constructed for the movies, that then get tossed out (at least sitcom sets are often reused). Stage sets last longer, but tend to see less reuse other than flats (which are repainted). Projections, for all my hate, at least are somewhat sustainable. But confetti cannons are often an example of needless waste: they don’t advance the plot, and they make a mess of typically plasticized bits that are then just tossed into a landfill. If you’re going to shoot something into the audience, shoot popcorn. At least it is biodegradable.

But those are minor complaints. This was a really fun show, with great performances. Sound and lighting was strong. Folks should really go see it — the touring cast is just awesome.

Our performance was also during the twice-a-year fundraising periods for Broadway Cares – Equity Fights AIDS. Again, the cast had quite a bit of fund with the fundraising call, inserting their own humor and playfulness in the appeal for what is a serious organization. They even auctioned off a pair of cocoanut shells autographed by Eric Idle. We go to such much theatre that we typically get the “red buckets” at least twice a year (I think they fundraise around Easter and Thanksgiving). The organization is good and we always donate. You should too. This time, they even had the credit card readers working; this is much better than the QR code as you don’t have to fill out the forms.

Spamalot continues at the Hollywood Pantages (Broadway in Hollywood) until April 12, 2026. Go see it. Tickets are available through the BIH website.

P.S.: Broadway in Hollywood has announced their 2026-2027 season, and it is strong. The season is WATER FOR ELEPHANTS (Sep. 8 – 27, 2026); THE OUTSIDERS (Sep. 30 – Oct 18, 2026); THE WHO’S TOMMY (Oct. 27 – Nov. 15, 2026); BUENA VISTA SOCIAL CLUB (March 9 – 28, 2027); OPERATION MINCEMEAT (March 30 – April 18, 2027); MAYBE HAPPY ENDING (May 4 – 23, 2027); THE GREAT GATSBY (June 1 – 20, 2027); and DEATH BECOMES HER (July 6 – 25, 2027). The add-ons are HAMILTON and THE LION KING. Only one retread in the bunch (Tommy). I do fear that this means the 2027-2028 season will be weak. I expect that Oh Mary will go to the Ahmanson, and possibly Boop as well. That just leaves Just In Time and possibly Boop for 2027-2028. Many of the other shows from the season closed early and aren’t likely to tour (Dead Outlaw, Smash, Redwood, Queen of Versailles), and other recent shows just haven’t announced tours (in particular, Real Women Have Curves - The Musical, Illinoise and How to Dance in Ohio). Some of these might show up at the Ahmanson, which does actually mount local productions, but not at the Pantages which only books tours. As for other stuff on tour (see here and here): there’s not much else, other than possibly Heathers or Hamnet (which would go to the Ahmanson). There’s also not a lot of new stuff coming to the current Broadway season to feed the tour market. So 2027-2028 may be a weak season. Expect Wicked and Chicago to return :-). Perhaps some local theatre will decide to mount Real Women Have Curves – The Musical or Dead Outlaw. One can hope.

Credits

Monty Python’s Spamalot. Book and lyrics by Eric Idle. Music by John Du Prez & Eric Idle^*. A musical lovingly ripped off from the motion picture Monty Python and the Holy Grail from the original screenplay by Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin. Directed and choreographed by Josh Rhodes.
^*: According to the fine print, although most music and lyrics are © 2005 by Eric Idle d/b/a Rutsongs Music and John Du Prez d/b/a Ocean Music, there are some exceptions. Notably, songs from Monty Python and the Holy Grail: “Finland”, with music and tyrics by Michael Palin, “Knights of the Round Table” with music by Neil Innes and lyrics by Graham Chapman and John Cleese; “Brave Sir Robin” with music by Neil Innes and lyrics by Eric Idle, and “Always Look on the Bright Side of Life”, with music and lyrics by Eric Idle from Life of Brian.

Cast [underscores indicate “at our performance”; strikeouts indicate “not at our performance”; ↑ indicates “swung up”]: Major Attaway King Arthur; Sean Bell Sir Robin, Guard 1, Brother Maynard; Chris Collins-Pisano Sir Lancelot, The French Taunter, Knight of Ni, Tim the Enchanter; Ellis C. Dawson III Dennis’ Mother, Sir Bedevere, Concorde; Leo Roberts Sir Galahad, The Black Knight, Prince Herbert;’s Father; Amanda Robles The Lady of the Lake; Blake Segal Mayor, Patsy, Guard 2; Steven Telsey Historian, Not Dead Fred, Baby, Nun, Mime, Minstrel, Prince Herbert, Bunny; Lindsay Lee Alhady Ensemble; Delany Benson Ensemble; Connor Coughlan Ensemble; L’ogan J’ones Ensemble; Graham Keen Ensemble; Claire Kennard Ensemble; Ben Lanham Ensemble; Nathaniel Mahone Ensemble; Meridien Terrell Ensemble. Swings: Jack Brewer, Maddie Mossner, Emilie Renier, Mark Tran Russ

Music Department (♯ indicates local): Jonathan W. Gorst Music Director, Conductor, Keys 1; John Bell Music Supervision and Additional Arrangements; David Lai Music Coordinator; Glen Kelly Music Arranger; Larry Hochman Orchestrator; Shan Ffrench Assoc. Music Director, Keys 2; Brandon Wong Drums; ♯ Jen Choi Fischer Violin; ♯ Jeff Driskill Alto Sax, Flute, Piccolo, Clarinet; ♯ Aaron Smith Trumpet, Flugelhorn, Piccolo; ♯ Nick Daley Trombone; ♯ Michael Abraham Guitar (Electric/Nylon String Acoustic), Banjo, Ukulele; ♯ Michael Valerio Bass (Acoustic/5-String Electric); ♯ Alby Potts Keyboard Sub; ♯ Eric Heinly Orchestra Contractor; Randy Cohen Keyboards LLC Synthesizer Programming; Josh Clayton Music Preparation.

Production and Creative: Eric Idle Book, Music, Lyrics; John Du Prez Music; John Rhodes Director, Choreographer; Paul Tate Depoo III Scenic and Projection Design; Jen Caprio Costume Design; Cory Pattak Lighting Design; Kai Harada Sound Design; Haley Parcher Sound Design; Tom Watson Hair and Wig Design; Derek Kolluri Assoc Director; Michael Fatica Assoc Choreographer; Emilie Renier Dance Captain, Fight Captain; Jack Brewer Asst Dance Captain; Ray Wetmore & JR Goodman Production Props Supervisors; Patrick Mulryan Dialect Coach; Geoff Josselson Casting Casting Director; Sightline Productions Production Management; Matthew Brooks Production Stage Manager; Anna K. Rains Stage Manager; Dani Berman Asst Stage Manager; Elaina Z. Kaehler Asst Stage Manager; James Neal Company Manager; RCI Theatricals General Manager; Bond Theatrical Tour Booking, Marketing, & Publicity; The Social Team Social Media.

Fine print credit items: For some reason, the credits include a shoutout to Ohio, The Heart of It All, even though there is no obvious connection to Ohio. Spam is a registered trademark of Hormel Foods LLC.

Administrivia

I am not a professional critic. I’m a retired cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; The Soraya, Chromolume Theatre, and 5-Star Theatricals.

Want to find a show: Check out the Theatre Commons LA show list. Other good lists are the Theatre in LA listings; the TodayTix listings; OnStage 411 (use the “shows” drop down); and Theatermania.

Some interesting shows that have caught my eye. Wisteria Theatre is doing Reefer Madness: The Musical (in April), as is Long Beach Playhouse (in October/November).  Wisteria was overpriced for a black-box; I might look into Long Beach’s production (but have to factor in the drive). Ebony Rep is doing Ain’t Misbehavin’ at the end of May into June. I love the show, but the prices are a bit high and I’m still trying to decide. I have a hold on the calendar. Casa 0101 is doing the play version of Real Women Have Curves from the end of March into May. Conundrum Theatre is doing a bunch of shows, but notably Big Fish in December 2026. And, as noted earlier, the Colony Theatre is doing Catch Me If You Can in the September/October 2026 timeframe. I’ll look into ticketing the fall shows once I know the CTG Season, to prevent conflicts. Lastly, I’ll note Group Rep in NoHo has announced their season, which includes a mounting of Applause in the July-August timeframe. That’s useful if you missed the MTG one-nighter; I haven’t yet decided if I want to see it again (although Group Rep does a great job with older and rarely done musical re-visits).

I used to do more detailed writeups; here’s my current approach.

Upcoming

♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending).

• April: ♦ Kim’s Convenience Store at CTG/Ahmanson; ♦ Ride the Cyclone at The Main; ♣ Jeremy Jordan at The Soraya; California Science and Engineering Fair at CLU; ♦ Flower Drum Song at East/West Players; ♦ Real Women Have Curves at Casa 0101. NOTE: We need judges for the California Science and Engineering Fair. If you have a degree in the sciences and are available to judge April 12 at Cal Lutheran in Thousand Oaks, sign up to judge here.
• May: ♦ Falstaff at LA Opera; ♦ The Sound of Music at BIH/Pantages; ♦ Brigadoon at The Pasadena Playhouse; ♦ Hells Kitchen at BIH/Pantages.
• June: ♦⊕ Ain’t Misbehavin’ at Ebony Rep; ♦ Elegies at Chromolume; ♦ Primary Trust at CTG/Taper; ♦ Mamma Mia at CTG/Ahmanson; plus whatever I schedule from the Hollywood Fringe Festival.
• July: ♦ Mexodus at Pasadena Playhouse; ♦ The Wizard of Oz at 5-Star Theatricals; ♦ If/Then at Chromolume Theatre.

This entry was originally posted on Observations Along the Road as 🎭 The Ministry of Silly Theatre | "Spamalot" @ Pantages/BIH by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link to the left. You can sign in with your LJ, DW, FB, or a myriad of other accounts. Note: Subsequent changes made to the post on the blog are not propagated by the SNAP Crossposter; please visit the original post to see the latest version. P.S.: If you see share buttons above, note that they do not work outside of the Wordpress blog.