Theater Review: “Monty Python’s Spamalot”
By Theresa Avila
July 12, 2009 9:11 p.m.
You don’t have to be a fan of the ’70s cult favorite movie, “Monty Python and the Holy Grail,” to enjoy the extravagance, wit and downright silliness of “Monty Python’s Spamalot.”
At least, that’s what this critic realized after only a few minutes into watching the musical at the Ahmanson Theatre, where it opened last week, four years after its first success on Broadway.
The musical, which is based largely on the movie, was written by Monty Python member and “Holy Grail” screenwriter Eric Idle with music by John Du Prez. The result is a shamelessly politically incorrect and delightful musical that pokes fun at itself as much as it does at pop culture.
The story, set in England in A.D. 932, finds King Arthur (John O’Hurley) in search of knights for his round table. He soon finds a contender in an impoverished young man with a penchant for digressing on class issues, who is transformed into the charming Sir Galahad (Ben Davis) by Arthur’s Lady of the Lake (Merle Dandridge), an enchantress with a diva personality, who dislikes being offstage for too long.
After rounding up Sir Lancelot (Rick Holmes), Sir Robin (James Beaman) and Sir Bedevere (Christopher Gurr), the knights travel to Camelot, a place full of glitz and glamour (not too unlike Las Vegas) and soon embark on a quest for the Holy Grail.
The storyline gets a little zany after that when Arthur must produce a hit musical on Broadway, but in order to do so, they have to find some Jews. Yes, that’s right. It’s all wonderfully explained in Sir Robin’s musical number, “You Won’t Succeed on Broadway,” which is accompanied by no small number of Stars of David.
Politically incorrect? Quite so.
To add to the mix is a disco dancing queen in the form of Sir Lancelot, who after saving a princess, err, prince, finally comes out of the closet in a Village People inspired rendition of “His Name is Lancelot.”
It’s the same sort of wackiness and playfulness that continue throughout the show that altogether make it difficult to sit tight in your seat. There are simply too many jokes, but then again, who’s complaining?
If you’re among the league of loyal fans of the original movie, you won’t be alone at the theater. The boisterous laughing throughout the show proves that there are a few inside jokes newbies may have missed.
One attendee was astonished to find out the viewer next to her had never seen the original: “You’ve come with virgin eyes!”
Those unfamiliar with the original material can still enjoy the witty literal jokes (of which there are a number of) and the other crazy characters. There’s a foulmouthed Frenchman who’s not afraid to throw more than a few crude signs at King Arthur to show his contempt for the English, and a Black Knight who doesn’t wince at losing body parts.
O’Hurley also does a good job as Arthur by giving just the right amount of zest to the lines so that they’re not overly done and offer the right amount of comedic relief. Dandridge also does a marvelous job as the Lady of the Lake and shows off her vocals, making her diva personality rightfully fitting.
At the end of the show, after having traveled through places like “a very expensive forest” and faced a bloodily fanged rabbit, the show must, alas, come to an end.
However, by the end of this hilarious production, the true success is not simply in a hitch-free show or a long standing ovation but in the lack of divide between newcomers and die-hard fans. But after a full two hours of constant laughter, even the most skeptical fans can’t resist.
-Theresa Avila
