"Spamalot"
Fisher Theatre
Detroit, Mich.
Through Saturday
Although it came out on Broadway in 2005 – and took home three Tony Awards, including Best Musical – I never had much interest in seeing “Spamalot.” With a book by Eric Idle and music by Idle and John Du Prez, the show is a musical adaptation of “Monty Python and the Holy Grail,” a British comedy I found a bit tedious when I saw the film in my youth. But “Spamalot” is an absolute joy and gem of a musical; I’m glad I corrected my 20-plus-year error when I saw the national touring production in Detroit.
Set in England in the Middle Ages, the story follows King Arthur as he collects his Knights of the Round Table and sets out on a sacred quest to retrieve the Holy Grail, guided by the Lady of the Lake. Along the way, they encounter a series of obstacles, largely cartoonish gatekeepers they must overcome to continue on their journey. At some point, they learn they must put on a Broadway show – complete with Jews and a grand finale wedding. Vegas-style showgirls (and boys), sequined tap numbers, numerous meta-Broadway references and utter silliness fill in the space between, plus probably a lot of other nonsensical things I missed completely.
While I don’t remember a lot about the film, the two bits that did stick with me were the coconut “horse” gallops and the “’tis but a flesh wound” sword fight (for those in-the-know), which I was happy to find were both included in the musical. It apparently made the theatergoers galloping around in the lobby afterwards with loopy grins on their faces happy too.
Though it opened in 2005, the show has kept fresh with updated, modern references as well as local ones. Many will recognize the now-iconic Cynthia Erivo “Defying Gravity” riff from the “Wicked” film, or the snippet from Chappell Roan’s “Pink Pony Club.” The reference that had me laughing for an awkwardly long amount of time was when the beauty queen in a song full of French stereotypes screamed out “FRANCE!,” a throwback to a viral clip from a few years ago where Miss France got very enthusiastic about sharing her country name during the 2018 Miss Universe pageant. On a local level, an elaborate password included bits of The Temptations’ “My Girl” and Eminem’s “Lose Yourself” – Detroit artists – as well as a mention of Dittrich Furs, a 132-year-old Detroit fur shop that just announced its closing this month.
The music was upbeat and catchy, matching the tone and silliness of the lyrics. “Always Look on the Bright Side of Life” is the main banger, worth a listen even if you don’t want to see the show, especially when you’re having a bad day.
The entire cast is committed to the high-intensity nonsense and physical comedy that must be maintained throughout the duration of the show, which was impressive. Amanda Nobles, the Lady of the Lake, dominated vocally, demonstrating range and power in all of her songs, matched with comedic prowess. Leo Roberts as Sir Galahad was another standout vocalist with a rich classical baritone that shined, especially in his “The Song that Goes Like This” duet with Nobles.
“Spamalot” is full on from start to finish. Some of it makes sense, most of it doesn’t, but that is the point. You never know what’s coming next, and there is a constant stream of surprise and delight. Most of us could use a pick-me-up right now, and however you enter the theater, “Spamalot” makes sure you leave with a smile on your face.
