Always Look on the Bright Side of Life

Monty Python’s Spamalot

Hilarious, goofy, nonstop mindless adult humor! Fantastic performances by a cast of gifted actors, singers and dancers all blessed with excellent comic timing, tireless energy and contagious enthusiasm! A musical stuffed with beautiful, catchy songs, wild choreography, gorgeous sets embellished with colorful lighting and imaginative projections, props and costumes! And, after two-and-a-half hours of giddy glee, the audience leaves the theatre with huge smiles on their faces. What’s not to like? It’s Monty Python’s SPAMALOT!

And who says a popular cult film can’t be successfully adapted for the stage as a musical? Certainly not the millions of adoring fans who made this show a huge hit in Chicago when it premiered in 2005 during its out-of-town tryout. And then later that year when SPAMALOT opened to both critical and public acclaim on Broadway. The musical went on to earn an unprecedented 14 Tony nominations, ultimately winning as Best Musical of the season. Now in its umpteenth visit to Chicago, this musical adaptation of “Monty Python and the Holy Grail” is just as much of a crowd-pleaser now as the original production was twenty-one years ago.

The musical owes its much of its success to Mike Nichols’ original over-the-top direction of Eric Idle’s and John Du Prez’s barmy book, thrilling tunes and lively lyrics. This offbeat musical, without any kind of political agenda or social message, is especially successfully because it gives audiences more than two hours of pure, nonstop laughter—something we can all use during these particularly troubled times. After national and international tours and productions, three years ago the show enjoyed a raucous new revival on Broadway. It was refreshed,  reimagined, updated, directed and choreographed by Josh Rhodes, who’s thankfully back in the saddle for this 2025-2026 National Tour. The wonderfully brassy score is conducted by musical director Jonathan W. Gorst and accompanied by a brilliant eight-member pit orchestra. The musical is still filled with bawdy humor, catchy songs and tongue-in-cheek spectacle and hilarity, with good-natured jabs at other musicals, like CHICAGO, WEST SIDE STORY, FIDDLER ON THE ROOF, PHANTOM OF THE OPERA, LES MISERABLES and of course CAMELOT. 

The technical embellishment for this wonderful anachronistic  musical is magical. Scenic and projections designer supreme, Paul Tate DePoo III, has created huge, hilarious practical set pieces and animated projections (watch very carefully the castle facade that greets the audience when you walk in, because there are some surprises awaiting you!) The oversized sets, that often dwarf the actors, remind one of the bonkers BBC television series, “Monty Python’s Flying Circus.” Jen Caprio has fashioned an array of glitzy, colorful costumes that are a combination of fairy tale fun and Las Vegas glitter. Bizarre characters, like the cantankerous Black Knight who stubbornly refuses to step aside, despite being hacked to bits, the voluptuous Lady of the Lake and her scantily-clad Laker Girls, the bloodthirsty bunny and even God all appear in this show, providing one sight gag after another.

Broadway, television and film actor, Major Attaway offers a noble, sometimes befuddled King Arthur, the leading character of SPAMALOT. He will be remembered for playing The Genie, in ALADDIN on Broadway, and providing the voice of Audrey II, in the Off-Broadway production of LITLE SHOP OF HORRORS. The actor’s rich baritone and superb comic timing help make his monarch an Everyman. Amanda Robles’ sexy Lady of the Lake, is funny, feisty, eloquent and absolutely lovely. Thrilling the audience with her incredible vocal acrobatics, Ms. Robles enchants with songs like “Come With Me,” “The Song That Goes Like This,” “Find Your Grail” and her Act II return to the stage with “Diva’s Lament.” 

The rest of this talented, versatile company, who all play multiple roles, get to exercise their comic chops, powerful singing voices and accomplished dancing skills, to the max. Sean Bell is very funny as the Guard and Brother Maynard, but particularly as Sir Robin (“You Won’t Succeed on Broadway”). Chris Collins-Pisano is priceless as Sir Lancelot, but he’s drop-dead hilarious as The French Taunter, the Knight of Ni and Tim the Enchanter. Leo Roberts is brilliant as Sir Galahad, but is also a standout playing The Black Knight and Prince Herbert’s Father. Blake Segal makes a great friend and sidekick as Patsy (“Always Look on the Bright Side of Life”), playing also the Mayor and Guard 2. And one of the hardest working triple-threats in this production, Steven Telsey is magnificent as the dry, scholarly Historian, who opens the show. But Steven also beautifully portrays Not Dead Fred, the Baby, a Nun, a French Mime, a Minstrel, Prince Herbert and the blood-thirsty Bunny. The thirteen multi-gifted members of the ensemble, who are also swings and understudies for the leading roles, are equally brilliant.

The trend of adapting popular movies to the stage has had mixed results. Some have been successful, while others have been grave disappointments. And while this trend doesn’t show any signs of decreasing, you can rest assured that SPAMALOT, the Holy Grail of all stage adaptations, is still just as much fun as ever. With its absurd British humor, slapstick comedy, zany characters, familiar comic bits for Monty Python fans, its catchy musical score, tap-heavy production numbers and purely escapist entertainment, I cannot recommend this marvelous musical any more. With its hilarious catapulting cow and bloodthirsty bunny, MONTY PYTHON’S SPAMALOT will inspire every theatergoer to “Always Look on the Bright Side of Life.”   

Highly Recommended

Reviewed by Colin Douglas

Presented May 19-31 by Broadway in Chicago at the CIBC Theatre, 18 W. Monroe, Chicago.

Tickets are available at all Broadway in Chicago box offices, at all Ticketmaster locations, by calling the Chicago Ticket Line at 800-775-2000 or by going to www.BroadwayInChicago.com. 

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.

Photos by Matthew Murphy and Evan Zimmerman