Monty Python’s Spamalot begins with giggles, dancing and fish-slapping physical comedy, setting the tone for an evening of fast-moving chaos.
Based on Monty Python and the Holy Grail, the musical follows King Arthur and his knights on a wonderfully ridiculous quest. I was excited to see Stephen Curry perform live for the first time, and he was phenomenal. His dry delivery, prolonged stares and bewildered expressions had me laughing the most. Amid the chaos, Curry understands the power of standing still and allowing one look to land.
Jaz Flowers is glorious as the Lady of the Lake. Every time she takes over the stage, the entire production lifts. Her extraordinary vocal range, glamorous presence and comic timing make each appearance feel special.
The ensemble brings infectious energy and momentum to the show. A cheer-squad-inspired sequence is a standout, while the Camelot number mixes dancing, colour and comedy. The French castle scene is a highlight, filled with ridiculous taunts, flashes of mime and physical humour. Nick White moves between several characters with ease, but his delightfully obnoxious French Taunter is especially memorable.
Tap dancing adds a burst of joy during the Act Two opener, “Always Look on the Bright Side of Life”. The choreography moves easily between physical comedy, musical-theatre spectacle and precise ensemble work.
The costumes are playful, the lighting brings the right amount of colour and movement, and the digital backdrop is a work of art, transforming from castles to forests and dramatic skies while keeping the scenes flowing.
After seeing Saturday Night Fever, The Diary of Anne Frank and now Spamalot, I have loved discovering the range of Drew Anthony Creative. This is controlled chaos: camp, colourful and proudly ridiculous, with a cast that knows when to go big and when to let one perfectly timed stare do all the work.
