www.bushnell.org
through December 14, 2025
by Simon Brighenti
In this reviewer’s previous life as a lawyer, my colleagues and I would often encounter various Latin words and phrases, the understanding of which was one of the few benefits of my passing familiarity with that not-dead-yet language. One of those phrases was “sui generis” - Latin for "of its own kind"- describing something unique, peculiar, or in a class by itself, requiring special rules because it doesn't fit existing categories. In other words, something completely different.
Such is the oeuvre of the six comic geniuses known collectively as Monty Python. The delightfully hilarious and sometimes borderline bawdy production of "Spamalot" is that special brand of irreverent humor in a (coco) nutshell. Having been a Python fan since my early teen years, the play hits on several different levels, all of them riotous.
Ably directed by Josh Rhodes, the plot revolves loosely, as did one of Python’s classic films, around the Arthurian legends of ancient Britain. A working knowledge of the Camelot myths is perhaps helpful to pick up some of the more obscure references; as is, in their other works, familiarity with some of the great philosophers, the Bible, former British political figures and events, and -perhaps unexpectedly- the Spanish Inquisition.
In keeping with the tradition of excellent productions at the Bushnell, the cast, set design, costumes and musical accompaniment are all first rate. The play comes from the mind of Python Eric Idle but is in fact a distillation of much of the essence of Python sketches, set pieces and movie scenes put together over the decades by the highly educated Idle, along with the similarly talented and erudite Graham Chapman, John Cleese, Terry Jones, Michael Palin and Terry Gilliam (the eccentric cartoonist and lone American in the troupe), none of whom, though, were involved in the actual development of "Spamalot".
In the Pythonesque tradition, each cast member other than Major Attaway as King Arthur and Amanda Robles as Lady of the Lake, plays a bevy of roles. Attaway brings a regal yet pompous presence to the role as he makes his way through one absurd situation after another. His immense talent shows through in both remaining in character in even the most ridiculous situations and in belting out some of the intricately crafted lyrics penned throughout. He and his men come within a hare’s breadth of doom in one of the most memorable scenes at the portentous Cave of Caerbannog.
Just as the Pythons had depended upon Carol Cleveland and Connie Booth to bring a distaff influence to the roles the guys didn’t play themselves, Robles is a distinct and wonderful find. She combines a compelling stage presence with playful arrogance and self-confidence.
Blake Segal and Steven Telsey display their slapstick sides as characters ranging from Not Dead Fred and the lackadaisical guard to the faithful Patsy and Prince Herbert. Chris Collins-Pisano is outstanding as he portrays probably the most outrageous characters in a sea of them - The French Taunter, the principal Knight of Ni and Tim the Enchanter.
The set, as audiences have come to expect, a character itself. The actors frequently break the fourth wall (as well as the ceiling) to great effect, and anachronisms, both lyrical and visual are a welcome addition.
As to the score, Eric Idle is a woefully underappreciated lyricist. Along with his more famous tunes included in the production such as “Knights of the Round Table” and “Always Look on the Bright Side of Life” are several tunes with typically clever wordplay.
Overall, "Spamalot" is definitely worth the quest.
