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Monty Python's Spamalot
a Musical Comedy
by Python (Monty) with Iric Idle and John du Prez

COMPANY : Theater of the Stars [WEBSITE]
VENUE : The Fabulous Fox [WEBSITE]
ID# 2206

SHOWING : February 20, 2007 - March 04, 2007



"Monty Python and the Holy Grail" gets the Broadway treatment, as King Arthur searches for the Grail, Sir Robin searches for courage, Sir Lancelot searches for the perfect gym, and Sir Not-Appearing-in-This-Show searches for the exit. To quote some critic or other, this production truly finds the 21st Century Anarcho-Syndacalist Ethos exemplified by the quest for the perfect 10th Century Shrubbery. Dioi!

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Great show-Wink wink-Nudge-Nudge
by MuzicKal
Tuesday, March 6, 2007
I can't really top the other review. It was just a joy to see such unabashed nonsense. And so well done. A must see for all! [POST A COMMENT REGARDING THIS REVIEW]
Always Look on the Bright Side of the Dark Ages
by Dedalus
Sunday, March 4, 2007
Thank you for accessing the executive version of this review. It has been carefully crafted for you, the busy executive, and, as such, contains no large words that would tend to strain your very busy schedule or trouble you with any analyses too deep for your standard PowerPoint Presentation.

That being said, may I remind you, the executive, that you are lower than the crusty excreta lining the Marianis Trench, the bearer of Trench Mouth pustules, and the receiver of far too many wind passings, proof (if we really needed it) that your mother smelled of hamsterberries.

So, “Spamalot.” What is it? More to the point, Why is it? We already know that it is over there in a box, soaking up the adulation of those of us who spent too many of our college years learning at the metric feet of Python (Monty, LTD), and filling the unfilled recesses of our spongelike minds with the adventures of the Spanish Inquisition, the Brothers Piranha, Lumberjacks (They’re OK), and their ilk as we filled our spongelike stomachs with spam spam spam spam spam spam beer and spam.

So, in true Broadway fashion, someone with less sense than Spam paid good money to adapt a movie that nobody saw into a musical that nobody can sing about a King that nobody remembers in a style that nobody likes. By nobody, of course, I mean myself and others of my pseudo-intellectualite kind.

As we sit and ponder the miracle of “Spamalot,” (it does, after all, represent the first stage appearance of the Feet of God, giving a performance of what can only be described as divinely inspired soleful mediocrity), I can’t help but wonder, just who is that terribly attractive woman in the red coat sitting in row D of the balcony and sipping what appears to be a Baileys Grande? And, of course, why did I pay $20.00 for a program that can’t be read in the House Lights in the Fabulously Dim Fox Theatre?

Purists will be upset that they changed some stuff (alms, anyone?), that they (gasp) break into song, that they actually find the grail, and that the role of Kenneth Clark has been dropped. Historians will be upset that they remembered the Finnish and Las Vegas influences on Celtic Legend. Theatre Geeks will be appalled at the lack of Pinteresque silence, the plethora of Dioi allusions, and the raising of the Diva of the Lake. Theologians will be appalled that the question “How can in Omnipotent and Omniscient deity lose a cup?” is never answered.

But, when all is said and done, it’s mighty still and quiet.

Or, to put it more clearly (for the executives among you), this is the sort of show that will appeal to folks who like “Spamalot.” That probably includes me.



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