Spamalot Review

Spamalot Original Cast Album | For sold out performances or premium theatre tickets: Spamalot and other Theatre Tickets

SPAMELOT : Looking at the Bright Side of the Season

by Jim Miller

Early in the first act of SPAMELOT last night, I found myself reacting much the same as I did to DIRTY ROTTEN SCOUNDRELS. Much of what was happening on stage just seemed silly. There were some laughs, but I kept wondering what some of the people around me, who were in hysterics, found so funny.

But, unlike what was the case for me with DRS, I slowly but surely began to give in to SPAMELOT's zaniness. It started with the appearance of the Lady of the Lake, and was enhanced when Sara Ramirez and Christopher Sieber sang the melodic and hilarious "The Song That Goes Like This." The remainder of the first act was hit and miss. The Camelot as Vegas concept didn't quite work for me. It was still too silly in spots, but, it was putting a smile on my face, and at intermission, the cheerfulness of the proceedings and the cleverness of the entire affair slightly outweighed the fact that not everything registered, and that some scenes went on a bit too long.

I'm not a Monty Python fan. I have nothing against their style and humor, but I never really tried to get into their shows or movies. Clearly, there were some major Python fans in the audience, laughing and cheering at even the appearance of certain bits. At intermission, I wondered if SPAMELOT would be a show most appreciated by those fans. But, the second act took care of any doubts, winning me over completely.

Maybe it took Act One to wear down any resistance and set me up, but I loved Act Two. As a result, I found SPAMELOT to be the most blissfully joyous musical of the season and the funniest in a long time. As most people know by now, the musical pays homage to and makes fun of Broadway, Las Vegas, Cher, the French, and a lot more. There were show references to FIDDLER, COMPANY, WEST SIDE STORY, PHANTOM, A CHORUS LINE, and THE PRODUCERS, plus probably some more that I've forgotten or missed.

Generally, I'm not that favorably disposed to musicals that play as a series of sketches, that have minimal plot, that don't have much dramatic tension or character development, and that are lacking in emotional content. All those things can be said about SPAMELOT; so, why was I ultimately so taken with the show?

First, I think, is the fact that it is totally outrageous - far beyond THE PRODUCERS, for example. The hilarity, particularly in Act Two, was pretty much non stop. Sure, a few scenes still went a bit long, but I didn't mind. I had gotten so caught up in the inspired lunacy that it didn't bother me.

I think another reason the show succeeds is perhaps the biggest surprise to me - the score. I'm not sure which songs are from previous Python movies - I know the showstopping "Always Look on the Bright Side of Life" is from LIFE OF BRIAN - but I really liked the score. These are legitimate Broadway songs; and, even some that are skewering Broadway with the lyrics have lovely melodies that I'm eager to hear again. "I Am Not Dead Yet," "The Song That Goes Like This," "Find Your Grail," "The Diva's Lament," "Where Are You," and "I'm All Alone" all made strong impressions. I was expecting a score like THE PRODUCERS - pleasant but not particularly distinguished. But, John Du Prez and Eric Idle have surprised me with the richness of their Broadway songs. As should be the case, the music elevates the entire show, allowing it to beguile and carry the audience along in spite of its minimal plot and the lack of emotional pull.

Finally, I can't say enough about Director Mike Nichols and his wonderfully talented cast. Tim Curry has a great presence as Arthur, even though, in some ways, his character is the most restrained of the group. David Hyde Peirce shines in his big, hilarious second act number, "You Won't Succeed on Broadway." Hank Azaria is terrific, bringing personality and distinctiveness to each of his multiple roles - he's almost unrecognizable in some of them. I'm not sure if Sara Ramirez has wrapped up the Tony yet, but she's great fun to watch and she delivers her songs with flair and style. Christopher Sieber and Michael McGrath are just as winning, and a particular nod goes to Christian Borle, who is riotous and delightful as Prince Herbert. But, it is Nichols who has pulled all this together and infused the entire evening with style, cleverness, and theatrical fireworks. Not all of it necessarily works, particularly in the first act, but, thanks to Nichols, SPAMELOT has a cohesiveness that, for me, was missing at DRS. (I'm by no means trying to pick on DRS, which, in spite of my reservations, I want to see again and I hope it succeeds, but these two shows just invite comparisons). Nichols has captured what I assume is the Python spirit of "anything goes" and "nothing is too outrageous," then given it a theatricality that allows SPAMELOT to take flight.

There are many other highlights and splendid moments that I've left out, ranging from flying cows and vicious rabbits to "the Feet of God." And, not being familiar with the movie, I'm sure I missed a few things too. As SPAMELOT goes on, there is even some legitimate warmth that envelops the onstage events.

So, go figure. Two weeks ago, the musical I most looked forward to was DRS, followed by ALTAR BOYZ. I had my tickets to SPELLING BEE and SPAMELOT, but wasn't quite as excited about seeing them. Yet, I found DRS somewhat disappointing, ALTAR BOYZ engaging but not quite as strong as expected, while I thoroughly enjoyed SPELLING BEE. And, for me, SPAMELOT was the best of them all. I think it will get reviews mostly ranging from good to raves, although there probably will be a couple of naysayers. I also think it's the clear favorite to win the Tony. Whatever mixed feelings I had at intermission, by evening's end, SPAMELOT had become pure enchantment.

Return to Other Broadway Shows