Theatre Review: The National Tour of “Spamalot” Brings Nostalgia and Whimsy Aplenty to the Bushnell

Savannah Brooks ’26

Editor-in-Chief

If you think you will like “Spamalot,” you are probably correct. If you think you won’t, you are also probably correct. The national tour of the 2023 Broadway revival takes all the necessary cues from Monty Python’s body of work, providing those who are already fans of the material a night of laughter and revelry in jokes which may be familiar from parents, college or a more dedicated lifetime devotion, depending on your age and level of fandom. 

“Spamalot” follows King Arthur (Major Attaway) of England (not Finland, as is helpfully clarified in the opening “Fisch Schlapping Song”) and his band of comically inept knights; Sir Robin (Sean Bell), who is perpetually scared shitless (literally) and has an endearing affinity for musical theatre, Sir Lancelot (Chris Collins-Pisano, in a chainmail hood that reminds one of a used condom), the trusty Sir Galahad (Leo Roberts, who quietly disappears into other roles after intermission) and the flatulent and criminally underused Sir Bedevere (Ellis C. Dawson III). The men, helped along by Patsy (Blake Segal) and the Lady of the Lake (Amanda Robles) go on a quest to find — you guessed it — the holy grail. Along the way, they encounter familiar characters — the French Taunter, the Black Knight, the Knights of Ni, Tim the Enchanter; the dedicated Monty Python fan will find no shortage of references. 

With elaborate, colorful costumes by Jen Caprio, striking wigs by Tom Watson and an incredibly intricate and large set by Paul Tate dePoo III (an incredibly fitting name for a show like “Spamalot”), the production spares no expense in ensuring maximum enjoyment. Josh Rhodes’ direction weaves together large physical comedic bits with the rarer and more poignant moments of emotional clarity with gusto, giving the audience little chance to check their watch or even blink without missing some small joke or a moment of a character’s journey (watch the animation closely during intermission or before the show — even then, there is something to catch). Dialect work by Patrick Mulryan is somewhat surprisingly remarkable — even Roberts’ Scottish accent as Prince Herbert’s father is impressively on-the-mark. 

“Spamalot”’s finest moments also seem to be its most emotionally resonant ones — while one cannot reasonably expect to devolve into sobs at any point during this production, Lancelot’s identity journey with Prince Herbert (Steven Telsey) is quite sweet, while still being comedically valuable if simply for the ever-so-slightly confused expression on Collins-Pisano’s face, even while he vogues in a colorful costume (condom-esque chainmail hood still in place). When Robin finds his love for musical theatre and revels in the fact that he has found himself in a Broadway musical, it is hard to resist Bell’s hilariously charming passion for the medium.

While “Spamalot”’s ability to poke fun at the modern Broadway musical (I counted references to Sondheim, Andrew Lloyd Webber, “Wicked” and “Fiddler on the Roof,” although I am sure there were more) is strong, it is unable (or, potentially more accurately, does not attempt) to escape the traditional Broadway box in its treatment of the women in the show, who do little more than dance next to the men in incredibly revealing and/or tight costumes. Even though the Lady of the Lake is able to have a meta comment on the thinness of her part (“Now we’re halfway through Act II/And I’ve had nothing yet to do,” she sings in “Diva’s Lament”), this does not give Robles any real opportunity to demonstrate much beyond her impressive vocal stamina. Of course, she adds in modern references (at my performance, this included a “6-7” joke and the inclusion of a song from “KPop Demon Hunters”), but she, as the lone named female character who is actually played by a female actress, does not have the same room for comedic moments as the men.

Ultimately, the strength of “Spamalot” lies in its nostalgia and entertainment value. While it makes a few efforts to comment on political and social issues, it is more interested in providing a fun and bright production which is difficult to look away from. Collins-Pisano is particularly hilarious in his several iconic roles with a fierce commitment to outrageous physical bits, but the cast as a whole skillfully inhabits the very silly world they find themselves in. If you are a fan of Monty Python, this is the night at the theatre for you. If you are averse to the surreal, dry humor of our cousins across the pond, you might want to wait for another comedy to make its way through town. 

“Spamalot” runs at the Bushnell from Dec. 9-14, 2025. For more information and to purchase tickets, go to the Bushnell’s website.