Plague. Injecting this malady into an opening narration guarantees Broadway success. Providing, of course, that the introduction precedes a gaggle of Scandinavians smacking each other with halibut.
The bizarre humor of Spamalot is hardly surprising, considering the show was lovingly adapted from Monty Python and the Holy Grail, the classic film spoof of Arthurian legend. Fans of the flick will not be disappointed by the theatrical take, as Python's Eric Idle cleverly weaves many of the film's memorable vignettes into his script, from French taunters to the Knights who say "Ni."
If anything, the first act follows the film a little too closely. While the sketches retain their humor, the musical's pacing practically grinds to a halt. Yet "The Song that Goes Like This," lets the newly knighted Sir Galahad (Christopher Sieber) show a glimmer of originality by mocking traditional show tunes.
Following intermission, the show accelerates the parodic, creative groove by deviating from the film's plot while retaining its satire. In addition to the Grail, the knights in tights find they only can fulfill their quest by making it to Broadway. The plot twist enables the show to fondly lampoon The Great White Way (an old nickname for Broadway), be it an unsatisfied Diva (Tony winning actress Sara Ramirez) lamenting her diminished role, or a rumination on the inefficiency of singing, dancing gentiles set to Fiddler on the Roof-inspired klezmer.
Somehow, amid the onstage antics and celebrity mockery (ranging from Michael Moore to Barbara Streisand to Andrew Lloyd Weber), one loses track of the plot. But considering that there really isn't any plot, this doesn't detract from the performance at all.
With its overly simplistic story and an unspectacular score, Spamalot easily could have flopped. But the talent of the small cast more than compensates for the show's shortcomings. As the Lady of the Lake, Ms. Ramirez brings the house down with her musical range. Equally as impressive is Michael McGrath as Patsy, Arthur's woe-begotten attendant. Both actors charm the audiences with witty, energetic performances.
Fortunately, these talents are not overshadowed by the more famous featured players. Though returning to his musical roots, Tim Curry leaves the flamboyance of Rocky Horror behind for a stoic and unflappable turn as Arthur, King of the Britons. This approach treads a fine line between haughty and lazy but ultimately favors the former.
Curry's straight man plays well against the playful exuberance of David Hyde Pierce (Sir Robin and others). Though a newcomer to musical theater, Pierce attacks his part with the fervor of a giddy child at Christmas.
With the cast clearly enjoying themselves, the audience is charged with a lively energy that builds to the climactic, crowd-interactive discovery of the Grail. Such vivacity truly separates Spamalot from its stereotypical Broadway competitors and makes it accessible to Python aficionados and newcomers alike.
If only they could only overlook those depressing plague forecasts.
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