Daffy comedy is at a premium in this delightful, long overdue local revival of hit Broadway musical Spamalot. 

“Lovingly ripped off” from the 1975 film Monty Python and the Holy Grail, Spamalot was part of a wave of musical comedies that followed the extraordinary success of The Producers (2001). Adapted for the stage by Monty Python’s Eric Idle (with John Du Prez as co-composer), Spamalot won the 2005 Tony Award for Best Musical, running on Broadway for four years.

With the original 2007 Australian production having flopped, this splendidly cast, tightly performed  production is a welcome chance for local audiences to appreciate the pure guilty pleasure silliness of Spamalot. 

Having achieved success with a series of productions in Perth over the past five years, ambitious producing house Drew Anthony Creative makes something of a quantum leap with this splashy touring production featuring a professional cast. The budget may be relatively modest yet it has clearly been spent wisely, with a full size LCD screen displaying the scenery and headliner Stephen Curry giving a terrific star turn as King Arthur. 

While the animated scenery, costumes, lighting, and sound are at full scale, the saving of money by use of a pre-recorded backing track is a disappointment, much as the recording is of high quality and the live vocals are well synchronised. Perhaps the absence of a conductor and live musicians has enabled the company to afford this particular tour, but this format would not be acceptable as an ongoing arrangement.

It is now decades since Monty Python mania was at its peak and yet the humour of Spamalot remains irresistibly funny. While the musical contains some classic sketches and cameo characters, no specific knowledge of the Python canon is needed to enjoy the very funny musical. 

Having assembled a strong triple threat cast, director Drew Anthony has perfectly recreated the mix of straight and bent playing styles to bring the humour to life. Vocals are exactingly prepared by Rainer Pollard. Over and above the comic and musical performances, the dancing is quite spectacular, with witty, tightly drilled choreography by Suzi and Jamie Rolton. 

High on visual appeal, the staging is brought to life by the dazzling digital design from Aquixel, expertly created by Travis Badge and team. Deftly working around the LCD screen, lighting designer Jason Bovaird ramps up the spectacle with vivid lighting, boosting production numbers with splashy effects. Costume design from Annette Stivaletta is equally colourful and creative. 

A memorable highlight is act one showstopper “Knights of the Round Table,” in which the full company and creative team come together to really bring down the house. 

Stephen Curry nails the deadpan earnestness of Arthur, King of the Britons, facilitating much of the comedy as the “straight man.” Curry also proves a more than capable singer, leading group numbers and crooning his lament, ”I’m All Alone.” 

As well as serving as co-choreographer, Jamie Rolton delights as Arthur’s long-serving aide Patsy, demonstrating his own dance skills in a tap-off in act two opener “Always Look on the Bright Side of Life.”

Jaz Flowers makes a welcome return to the Melbourne stage as the delectable diva-esque Lady of the Lake. Flowers has the vocal gifts to deliver a range of singing styles with fabulous flair. 

Gareth Isaac adds another terrific comic turn to his repertoire as fearful knight Sir Robin, who discovers his true calling is on the stage in act two showstopper “You Won’t Succeed on Broadway.”

Jesse Vasiliadis neatly underplays the vibe of Sir Lancelot, saving his dazzle for breakout number “His Name is Lancelot” when the knight has realised his true proclivities. Ethan Jones is instantly romantic as Sir Galahad, scoring laughs with Andrew Lloyd Webber parody “The Song That Goes Like This” with Flowers. Noah Skape gives strong support as Sir Bedevere as well as featured cameo roles. 

Comedian Nick White rounds out the lead cast as Man of Many Characters, a particularly memorable one of which is his Taunting French Knight.

Danielle Gibson, Emily Huynh, Jacinada Tsakalos, and Grace Williams retain their dignity as scantily clad showgirls on the sheer strength of their talents. Will Basson, Ethan Churchill, and Jack Coyne contribute their own inimitable talents as the hard working male ensemble. 

The ideal antidote to the worries of the world, Spamalot is musical comedy at its blissful breeziest.

Spamalot plays at Athenaeum Theatre, Melbourne until 11 October 2026. For tickets, click here.

Spamalot plays at Sydney Event Centre 15-18 October 2026. For tickets, click here.

Spamalot plays at Coliseum Theatre, Western Sydney 22-25 October 2026. For tickets, click here.

Photos: Ben Fon