Monty Python’s Spamalot should not work. It is based loosely on the 1975 film, Monty Python and the Holy Grail, which was already dated when I first saw it in the 1980s. But Spamalot, as a stage musical, does cram a lot more into the experience than simply rehashing old, if classic, gags. The plot is more contrived than a Donald Trump biography. The meta-theatrics are stretched to breaking point, with such complete disregard to the fourth wall of theatre that it was even subject of some of the jokes. The humour is madcap and often surreal, opening with a Finnish herring song (the “Fisch Schlapping Dance”) and including a sword fight with a knight without arms. The songs are musical parodies of themselves. It just does not make any sense that it should be so funny. But it is.

The original Python writing of Eric Idle has been enhanced with music he composed with John du Prez. There can be no real claim to originality here. Indeed, the musical numbers play on cliché, often being pastiche parodies satirising the musical theatre genre itself. “The Song That Goes Like This”, “You Won’t Succeed in Showbiz”, and “Whatever happened to My Part?” are the three clearest examples. An old Eric Idle favourite, “Always Look on the Bright Side of Life” is also thrown into the mix, borrowed from The Life of Brian.

I can assure you than none of these songs will move you emotionally, save to laughter. But that is why the audience came, and they got what they came for. The jokes and quips came thick and fast, blending well-rehearsed physical comedy and choreography with some great ad libs, good old Python-esque quirks with modern references to celebrities such as Taylor Swift. This was a performance where all the eleven-strong cast were outrageously funny. Bob Harms, as King Arthur, has brilliant comic timing, and somehow managed to keep the plot together. He also has a very good sonorous voice that can expand and boom. Sarah Harlington, as Arthur’s love interest The Lady of the Lake, was superb in delivering the songs vocally, and was equally adept at exploiting every nuance of the humour in the lyrics. I could go on to name the other cast members, but it is suffice to say that there were no weak links at all in this cast, whether the performer was required to act, sing or dance.

Production values were wisely invested into the cast, although I should add that the small four-piece pit orchestra did very well to sound twice the size, and their comedic accompaniment was often splendidly timed. The staging, lighting, costumes and props were good enough to get by on, but nothing special and clearly constrained by budget. Though in addition to praising the cast and band, I think this is probably one of the best directed productions I have seen for a while. The whole show flowed effortlessly from one scene into another, and there was a perfect balance between always having something clever, witty or interesting to look at, yet not being visually or aurally overwhelmed. As I said in the beginning, this is a show that should not work, and I’m sure it would have crashed and burned if badly handled. For making a success out of chaos director Daniel Buckroyd deserves much credit.

If I do have a reservation about this show, then it is that there is no point to Spamalot whatsoever. It is utterly meaningless. But should it be anything else? It is an absolutely hilarious way to spend a couple of hours. And that is that.    ★★★★☆    Robert Gainer    28^th February 2018