So joyously silly, Drew Anthony Creative’s presentation of Monty Python’s Spamalot, lovingly ripped off from the motion picture Monty Python and the Holy Grail, is five-star gold. It is entertainment personified – witty, wild and wonderful. With book and lyrics by Eric Idle and music by John Du Prez and Eric Idle, this frivolous fancy captured the imagination when it was first produced on Broadway in 2005. It was justly rewarded with the Tony Award for Best Musical, just one of 14 Tony nominations it received.
The deliberately daft storyline, such that it is, involves a man anointed as King Arthur by the Lady of the Lake, travelling through medieval England to round up an army. At first spectacularly unsuccessful, his luck turns before he and his knights of the round table are given a mission by God to find a chalice known as the Holy Grail. Many trials and tribulations await, during which the king and his knights face mockery and insult, and a series of obtuse challenges.
Comic timing is everything and this show, brilliantly led by Stephen Curry as King Arthur, has it in spades. The looks on his face, the pregnant pauses, the way he carries himself. It all comes together with such poise and polish. And who knew he could sing? Quite the revelation. In that regard, the entire cast is to be congratulated. All are rock solid, upbeat and hilarious throughout. They harmonise magnificently, ensuring the catchy tunes resonate, time and again.
When it comes to vocalisation, none is better than Jaz Flowers as the Lady of the Lake. When she opens her lungs, what flows out is pure dynamite – rich, rounded and redolent. What a voice! Each of the knights of the round table too has the opportunity to shine, to imbibe in the orchestrated inanity that is central to the success of Spamalot, and that they do. They sing, they dance, they strut and they embellish the mood of mirth.
As Sir Galahad, Ethan Jones’ duet with Jaz Flowers, is one of the many high points of the offering. Jesse Vasiliadis embraces his role as the literal “kill joy”, Sir Lancelot. He embraces the adage “to kill … gives me such a thrill”, all good-natured, mind you. Gareth Isaac makes an art form of the scaredy knight, Sir Robin, whose inclination is to turn tail and run when the going gets tough. He discovers his holy grail, that being his penchant for musical theatre. Let the plaudits continue to flow for Noah Skape as Sir Bedevere, whose notion of infiltrating the French with a Trojan Rabbit goes marvellously wrong.
And then there is the understated comic finery of Jamie Rolton, who deserves much praise for his depiction of the downtrodden part of King Arthur’s horse, Patsy. He gives us a coconut recital par excellence. Nick White delights in stepping up as a man of many characters, including the French taunter who takes pleasure in insulting the king with robust repertoire. They, along with a talented ensemble, ensure that Spamalot leaves an indelible imprint.
Contemporary references and breaking the fourth wall to discover the Holy Grail guarantee a night to remember. Forget traditional sets, the production design pivots around clever and creative 3D projections at the back of the stage that set the scene. Add some cheap and cheerful props and voilà, you have all you need.
The choreography is particularly well handled – think dancing and tap, plus more – by Suzi and Jamie Rolton. Jason Bovaird adds to the colour and movement with a most expressive, razzmatazz lighting design. Costuming too, courtesy of Annette Stivaletta, is striking and evocative. Hats off to director Drew Anthony for ensuring Monty Python’s Spamalot is such an inspired production. I loved it.
Two hours 20 minutes, including interval, it is playing at the Athenaeum Theatre until 4th October, 2026.
Alex First
Other reviews you might enjoy:
- Saturday Night Fever (Athenaeum Theatre) – musical theatre review
- Hedwig And The Angry Inch (Athenaeum Theatre and Carriageworks) – musical theatre review
- Hair (Athenaeum Theatre) – musical theatre review
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.
