‘Spamalot’: A Crowd-Pleasing Romp That Struggles To Spark

Spamalot has its share of laughs, but dated gags and uninspired staging leave this revival struggling to sustain the anarchic spirit that made Monty Python famous.

Directed by Drew Anthony and starring Australian comedy favourite Stephen Curry as King Arthur, the Broadway musical draws on Monty Python and the Holy Grail, following a motley band of knights on an increasingly absurd quest for the Holy Grail.

The comedy works best when the characters bounce off one another, and references to Hornsby RSL and Dale Kerrigan give the humour a welcome local flavour. These flashes of Australian irreverence suggest how the material could speak to contemporary audiences, yet the production rarely ventures far beyond the familiar. Too many gags linger past their punchlines, and a sluggish first act makes the nonsense feel repetitive rather than mischievous.

The cast fares considerably better. Curry plays Arthur as a pompous, exhausted king who seems personally offended by the inconvenience of his own quest, giving the character a pleasingly lazy comic streak. Ethan Jones shifts from peasant Dennis to the impossibly posh Galahad, while Jesse Vasiliadis brings a smouldering swagger to Lancelot. Together, they make an entertaining pair of himbos, one preening while the other pouts.

Gareth Isaac relishes the cowardice of Sir Robin, wearing an oblivious grin as he shows off his musical talents, while Nick White distinguishes his procession of supporting characters through increasingly absurd voices, from a raspberry-blowing French soldier to a magnificently ridiculous goat man. Marney McQueen is a particular delight as the Lady of the Lake, pairing powerhouse vocals with unabashed theatricality. Her Diva’s Lament is a highlight, though her limited stage time leaves you wanting more.

The musical numbers bring welcome bursts of movement, but the staging rarely matches the performers’ enthusiasm. The women in skimpy costumes are impressively athletic, yet too often appear to occupy otherwise empty space rather than contribute to the action. A giant projection screen dominates the sparse set, its cheap-looking imagery distracting from the comedy instead of enhancing it. Even the wooden rabbit and the Black Knight, ripe opportunities for inventive theatrical mischief, receive little visual imagination. The choreography, meanwhile, is serviceable but seldom memorable.

At two hours, Spamalot is an enjoyable outing in patches rather than a consistently rewarding one. Monty Python fans will appreciate the familiar irreverence, and families after undemanding musical comedy should find enough to enjoy. For everyone else, the occasional belly laugh may not quite justify the journey to the Holy Grail.

Monty Python’s Spamalot ran from 15 to 18 October at the Sydney Event Centre.