In a spoof of a spoof, The Kennedy Center’s production of Monty Python’s Spamalot is “lovingly ripped off” from the 1975 film Monty Python and the Holy Grail. And let me say, it is utter nonsense. Often hilarious and perfectly executed, but joyous nonsense nonetheless. I mean, where else is a giant killer rabbit puppet considered not only Tony Award nomination worthy, but actually the winner of said Tony Award? And yet, here we gather at the Kennedy Center, prepared to indulge in this world of ludicrous and bizarre comedy. 

Let me say up front that I am not often a fan of traditionally “stupid” or “cringy” comedy. That being said, I braced myself and went into the performance mentally prepared for what I was about to witness. And I must say, I was pleasantly surprised. There were some moments of awkward laughter as the rest of the theater erupted into guffaws, but I was admittedly more entertained that I think I was expecting to be.

Of course, this was largely due in part to the production’s all-star cast. As part of the Kennedy Center’s Broadway Center Stage series, the production kept true to form and brought some of modern theater’s best and brightest as they tell the story of King Arthur (James Monroe Iglehart) and his Knights of the Round Table (including Alex Brightman as Sir Lancelot, Michael Urie as Sir Robin, Nik Walker as Sir Dennis Galahad, and Jimmy Smagula as Sir Bedevere) in their quest for the Holy Grail. When coupled with the talents of Rob McClure (per Monty Python tradition, McClure took on many roles, although the lovably needy Prince Herbert may take the cake) and Leslie Rodriguez Kritzer as The Lady of the Lake, the effect was entertaining to say the least. 

Surprisingly (or perhaps not so surprisingly to fans of the original film), most of the comedy in Spamalot has held up against the test of time. With a book and lyrics from Eric Idle and music from John Du Prez and Idle, the musical keeps nearly all of the production’s famous, beloved moments while adding that cheeky Broadway style flair, creating a nostalgic blend of absurdity. 

There are many moments in this jam-packed production that could be highlighted, but I will do my best to focus on some of the best.

First up is Kritzer as she shines as The Lady of the Lake. As she takes the stage in gorgeous evening gowns of sparkles and flowing fabrics (thanks to original Broadway costume designer Tim Hatley and costume coordinator/additional designer Jen Caprio), her time on stage is chock full of cheeky jabs at famous productions, including her Phantom of the Opera-esque number “The Song That Goes Like This” with Walker and her Elphaba-channeled high notes a la “Defying Gravity.” Her comedic timing is impeccable as she exudes off nonstop energy, particularly in her big belt diva number “The Diva’s Lament.” 

Urie is another one that gives an ode to the theater in his number “You Won’t Succeed on Broadway.” As Sir Robin enters into his own, Urie finally gets a chance to prove his vocal talent as he and McClure create a number full of Fiddler on the Roof references, including the infamous glasses-on-hats dance, combined with a few bars of “If I Were a Rich Man” and “Sunrise, Sunset.” 

Alex Brightman once again proves himself to be the master of improv and ad-lib as he brings some of the original film’s most famous moments to the stage, as well as a few timely pop-culture and Washington DC specific references of his own. As the leader of the Knights Who Say Ni! and the cone-helmet wearing guards, Brightman had even me laughing with his effortless comedic prowess. 

Iglehart shines as the larger-than-life King Arthur (who is never without his trusty servant Patsy, played by Matthew Saldivar) particularly in the Vegas-style, over-the-top visual feast that is Camelot and the number “Knights of the Round Table.” “What happens in Camelot stays in Camelot!” he proclaims as The Lady of Lake’s Laker Girls prance around dressed as Vegas showgirls in this splashy number. 

Like all Center Stage predictions, the Kennedy Center Opera House Orchestra is up on the stage, this time atop an arched medieval castle set that looks straight out of the 1975 film, thanks to scenic and projections designer Paul Tate dePoo III. Coupled with the digital animation and projections, the effect is quite genius as it feeds into the absurdity and gleeful ridiculousness. 

Directed by Josh Rhodes, Spamalot will have even the harshest critic laughing at least a good few times. Full of the nostalgia that has kept audiences laughing at Monty Python for nearly 50 years, Spamalot will leave you with shiny rainbow confetti in your hair and the annoyingly catchy “Always Look on the Bright Side of Life” stuck in your head. 

Spamalot runs at the John F. Kennedy Center for the Performing Arts in Washington DC through Sunday May 21, 2023. Run time is approximately two hours and fifteen minutes with an intermission. Tickets can be purchased here.

All photo credit to Jeremy Daniel. Additional production photos can be found below.