CRITIC’S PICK:“The key to the comedy is not after all replication but individuation. The Pythons were each their own kind of oddball, and the bits are only funny with fresh bite...For all its nostalgia value, and its endless verbal invention, ‘Spamalot,’...has a very vexed soul.”
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“Rhodes’s cast of show-tune pros is highly capable, and the show’s laughter now seems more like it’s coming from inside the Broadway house. It’s a true ensemble effort...In this company of men, however, it is a woman who really dazzles: Leslie Rodriguez Kritzer as the sword-bestowing Lady of the Lake...It’s in the Lady of the Lake’s spotlight moments, the show’s biggest departure from the nearly all-male Grail, that Spamalot comes into its own most effectively and takes flight—not as an African swallow, capable of carrying significant weight, or merely as a parrot, possibly dead, but as what it is: a lark.”
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“This Broadway revival, ‘Spamalot's’ first, feels like a proclamation that the musical's heyday is not dead yet, either...The other strength of ‘Spamalot’ is that it gives every one of its principal cast members a chance to shine. And shine they do. “
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“It’s true that there’s a sugar-high quality to ‘Spamalot’: By the end, your teeth are buzzing from the sheer multitude of sparkles and crescendos. But there’s also an embrace of its form’s inherent absurdity that feels almost existential, and thereby true to Python.”
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“The production is so richly stocked with prime talent that there isn’t a smidgen of a lull in the proceedings.”
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“Perhaps most satisfying about ’Spamalot’ is how it differs from other movie-to-stage adaptations in landing every punchline even for those who know what’s coming.”
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“The production’s overdesign is a symptom of the broader problem, which is a lack of ingenuity in favor of sheer excess. It is a paradox of throwing money onstage that it can easily come at the expense of creativity. There may be a way to reanimate ‘Spamalot,’ and for Monty Python’s random surrealism to infect a new generation and confront the current moment. But that grail is not to be found here.”
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“This new ‘Spamalot’ arrives, beefed up, gussied up and yes, even funnier than in its birthing engagement earlier this year...the revival of the Tony-winning musical by Python great Eric Idle, with John Du Prez, brings joy to a land desperately short of guffaws and chuckles and snickers and giggles.”
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