On Stage With…
Lady Beverly Cohn
Entertainment Editor
As many years as I’ve been reviewing theatre, I still enjoy opening nights – especially at the beautiful Hollywood Pantages Theatre – one of just a few stunning art deco theatres remaining in Los Angeles. The air buzzed with excitement as people filed in searching for their seats. The dress code was anything from jeans and tennis shoes to cut-offs and flip-flops, the new normal for a night at the theatre. But this particular evening, they were all there to hopefully enjoy the craziness of the National Touring Company’s production of Monty Python’s SPAMALOT. With Book and Lyrics by Eric Idle, direction and choreography by the extraordinary Josh Rhodes, and music by John du Prez and Eric Idle, the production arrived at the Pantages in full glory, direct from its Broadway revival. The original 2005 production was nominated for 14 Tony awards garnering three including Best Musical.
Photo by Matthew Murphy and Evan Zimmerman
Following the Overture by the Spamalot Orchestra, the action begins in 932AD with the uber talented ensemble dancing its first of 19 production numbers, including a highly stylized Maypole dance. Although farcical and delightfully irreverent in its nature, the basic story is still King Arthur and his Knights of the Round Table searching for the Holy Grail. Major Attaway as the King, has a booming legit voice and delivers a hilarious over-the-top performance as he mounts his invisible horse and rides throughout the countryside in search of knights to help him in his quest to find the ‘Holy Grail.” His ever-faithful servant, wonderfully played by Blake Segal, assists in creating the sound of galloping horses as well as playing multiple roles, as do other cast members. One of the many hilarious sequences is a man pulling a cart full of supposedly dead people with one of them popping up insisting “I’m not dead.” Anyway, the owner of these “corpses” bops him on the head declaring “Now he’s dead!” In one town, the King insists “I’m your king!” But the people shout back: “I didn’t vote for you!” Non sequiturs abound adding to the hilarity of the action with phrases like “J.D. Wentworth,” “Clang, Clang Went the Trolley,” “Sound Off 1-2-3,” “What happens in Camelot, stays in Camelot,” and the iconic “Beam me up Scotty.” Although each and every member of the cast gives an outstanding performance, Amanda Robles as The Lady of the Lake is truly a show stopper. Her comic timing, coupled with a vocal instrument that has an amazing two-to-three-octave range, shines when she belts out “Diva’s Lament.” There is a hilarious scene where the King and the Knights devise a Giant Rabbit as a Trojan Horse to penetrate the castle gates where they have been forbidden to enter. When intermission rolls around, we hear “Have a drink and a pee.” Based on the flying cow, Act “Moo” begins where the King and the Knights are lost in a “very expensive forest.” Kudos to Paul Tate dePoo III for his exquisite scenic and projection designs, especially the rainfall in the forest. A resounding “Always Look on the Bright Side of Life,” a tap musical number performed by King Arthur and the Knights and other members of the ensemble, is followed by “Brave Sir Robin” sung by the very talented Sean Bell as Sir Robin. Other notable performances include Chris Collins-Pisano as Sir Lancelot and Leo Roberts as Sir Galahad, each of whom play multiple characters and turn in exquisitely entertaining performances. Then there’s the Jewish sequence with dancers doing the traditional “Bottle Dance.” Originally choreographed by Jerome Robbins, the dancers perform the highly stylized movements in a crouched position with bottles affixed to the top of their heads. So, the pursuit of the Holy Grail continues throughout Act II with jokes, laughter, irreverent moments, over-the-top dialogue, and pure slapstick bits. All this is supported by the visually stunning sets, Jen Caprio’s lavish costumes, Cory Pattak’s kaleidoscopic lighting which beautifully illuminates the frenetic on-stage action and the energetic choreography performed by the outstanding swing dancers and the vibrant ensemble. The bottom line is this production is a tongue-in-cheek salute to Monty Python fans and an introduction to those who are new to their distinctive, irreverent, over-the-top style of comedy.
Photo by Matthew Murphy and Evan Zimmerman
The roaring laughter, hoots, and whistles from the audience throughout the play, culminating in multiple curtain calls, confirmed that they were not disappointed and truly appreciated the spectacular performances they just witnessed.
SPAMALOT
Hollywood Pantages Theatre
6233 Hollywood Blvd.
Los Angeles, CA 90028
Genre: Musical
Run Time: 2 hours & 30 Minutes
One intermission
Performance Schedule:
Tuesday–Thursday: 7:30pm
Friday:8:00pm
Saturday: 2:00pm & 8:00pm
Sunday: 1:00pm & 6:30pm
Closing: April 12, 2026
Tickets: $30-$580
Online: broadwayInHollywood.comor
Ticketmaster.com
In Person: Hollywood Pantages Box Office
Box Office: 323.468.1770
