Review Roundup: SPAMALOT Embarks on North American Tour

The Tony Award-winning Best Musical Comedy Monty Python’s SPAMALOT is now on its North American Tour. Read the reviews below!

The 2025–2026 tour stars Major Attaway (Aladdin) as King Arthur, Sean Bell (Harmony) as Sir Robin, Chris Collins-Pisano (Forbidden Broadway) as Sir Lancelot, Ellis C. Dawson III (Hamilton) as Sir Bedevere, Leo Roberts (Les Misérables) as Sir Galahad, Amanda Robles as The Lady of the Lake, Blake Segal (Mary Poppins) as Patsy, and Steven Telsey (The Book of Mormon) as The Historian and Prince Herbert. The ensemble includes Lindsay Lee Alhady, Delaney Benson, Jack Brewer, Connor Coughlin, L’ogan J’ones, Graham Keen, Claire Kennard, Ben Lanham, Nathaniel Mahone, Maddie Mossner, Emilie Renier, Mark Tran Russ, and Meridien Terrell.

Originally opening on Broadway in 2005, SPAMALOT features a book and lyrics by Eric Idle and music by John Du Prez and Idle. The original production earned fourteen Tony nominations and won three, including Best Musical. Following its acclaimed 2023 Broadway revival at the St. James Theatre, SPAMALOT will once again bring Monty Python’s absurdist humor to audiences nationwide under the direction and choreography of Josh Rhodes. The revival was widely praised for its inventive staging, design, and ensemble performances, reaffirming the enduring appeal of the musical’s irreverent wit and joyful parody.

Roy Berko, BroadwayWorld: A reviewer said of the original production, "It's UNFAIR to make me laugh this much!” I wish I could say that of the touring show. Unfortunately, I can’t. This production seems to be missing some of the abandonment needed to really get the audience to let loose.

Savannah Brooks, Trinity Tripod: Ultimately, the strength of “Spamalot” lies in its nostalgia and entertainment value. While it makes a few efforts to comment on political and social issues, it is more interested in providing a fun and bright production which is difficult to look away from.

Christopher Arnott, Hartford Courant: Josh Rhodes, who directed both the 2023 Broadway revival and this tour, has made some interesting and not unfunny choices that test the comedy material without disappointing Python purists. As with Nichols’ production, a lot of the fun is in seeing how some big moments from the film, like the catapulting of a cow or the dismembering of a Knight in denial about his fatal injuries or a vicious rabbit attack, can be accomplished live on stage. The answer? With extreme silliness, which makes the high resolution projected backdrops and confetti cannons all the more pointless.

Alexander C. Kafka, BroadwayWorld: Major Attaway is a delightfully self-important King Arthur who often looks like he’s on the verge of “breaking” at the comic antics of Roberts’s Black Knight and Chris Collins-Pisano’s French Taunter and Knight of Ni. Sean Bell, as brave Sir Robin, projects expressions well and has fine timing well-suited to conveying bodily functions. Scenes and projections by Paul Tate DePoo III are great fun and honor the spirit of Terry Gilliam’s Python animations. And the small orchestra, under the direction of Jonathan W. Gorst, played wonderfully.

Amy Kotkin, DC Theater Arts: One might ask if a 20-year-old musical studded with jokes about women, gays, Jews, French people, and a variety of addled Britons could possibly feel fresh. The answer, largely, is yes. When everyone gets skewered, even with well-understood tropes, it’s hard for any of us to feel singled out. A stellar cast helps, too. Brilliantly directed and choreographed by Josh Rhodes, Spamalot’s versatile troupe breathes life into dozens of characters, each one a quirky manifestation of Monty Python’s irreverent wit.

Bill Kellert, The Spot 518: Fans of Monty Python in general — and especially the classic movie “Monty Python and the Holy Grail" — are sure to love “Spamalot.” But even if you’re not a Monty Python fan you will be hard-pressed not to enjoy the show now playing through Sunday at Proctors in Schenectady.

Katherine Kiessling, Times Union: Scenes from “Holy Grail” are faithful to their inspiration and are highlights of the evening, even if they sometimes fall just shy of the Pythonesque, go-for-broke abandonment. And this could just be an unavoidable symptom of the 50-year-old familiarity of “Holy Grail.” Could I have laughed harder at some of the jokes had I not already known their punchlines? Certainly. Did I still leave smiling at the show’s utter silliness? Absolutely.

David Andreatta, Roc City Mag: Standing out among the cast, though, is Amanda Robles as The Lady of The Lake. Her stage presence, stunning singing voice and steadfast commitment to the melodrama required of her part are unparalleled. Hearing her belt out “Find Your Grail” is genuinely moving, and her reminder in the second act that she’s “been offstage for far too long” rightly earns ravenous applause.

Dough Bursch, The Moderate Voice: Spamalot, like Spam, has a pretty good shelf life, thus the touring production, and a night of laughter at knights that say “ni,” corpses that are not dead yet, and a bunny that strikes terror into no one until it is too late. The musical doesn’t really make sense, but it doesn’t really have to. As long as there are enough Monty Python fans still alive to drag their offspring and significant others to the theater, the show will keep galloping along.

Michael Quintos, BroadwayWorld: What is most remarkable about this latest iteration is its refreshed visuals, a dazzling combination of animated projections and massive set pieces reimagined by scenic designer Paul Tate DePoo III (who recently designed the sets for La Mirada's incredible revival of SWEENEY TODD) that, when paired with Cory Pattak's lighting and Jen Caprio's fun costume designs make the show all feel, well… wickedly royal.

Christopher Smith, Orange County Register: Pulling everything together is actor Major Attaway in the lead role of King Arthur. With a pedigree across TV and theater — his chief Broadway credit includes a turn as The Genie in “Aladdin” — Attaway is at times an avuncular and even courtly Arthur, capable of being both imperious and soulful.

Steve Murray, BroadwayWorld: Yes, the show is very silly, re-hashing the best scenes from Holy Grail verbatim. Poking fun at the plague, the clergy, the non-electable monarchy, a killer rabbit, and The Knights Who Say "Ni!" (don’t ask). The lead characters make the most of the cock-eyed book that throws the kitchen sink into this hodgepodge of material. Production number heavy, there’s big Broadway numbers that seem to come out of nowhere with a cheesy Vegas feel.

Jim Harrington, The Mercury News: Overall, the cast is fabulous — nary a weak link in the bunch — with each of the actors thriving in the trademark chaos, fun wordplay and abundant miscommunication that this play has been serving up ever since it debuted on Broadway back in 2005.

Beverly Cohn, Splash Magazines: 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.”

Amanda Callas, BroadwayWorld: The cast is thoroughly winning and delightful, up for all kinds of madcap adventures and antics. Major Attway shines as King Arthur, bringing boundless charm, warmth, impeccable comic timing, and a surprising sweetness to the lead part. Attaway’s velvety, rich caramel baritone is absolutely gorgeous.

Cori Graham, SoCal Thrills: First and foremost, what a cast! Many of the actors play multiple roles in the show. Chris Collins-Pisano was amazing, especially in his roles as The French Taunter and Sir Lancelot, both with starkly different characterizations, but both earning huge laughs from the audience. His performances in “Run Away” as The French Taunter was hilarious, but his physical comedy in “His Name is Lancelot” truly showcased his comedic range.

Rick Mauch, The Business Press: As for the music, well, like the story around it, it is filled with frolicking fantasy and a snub of its nose at reality. Don’t be surprised if, after seeing the show, you find yourself humming the ditty “I’m Not Dead Yet” or the jovial “Always Look On the Bright Side of Life” when no one’s looking.

Rob Levy, BroadwayWorld: Raunchy, camp, silly, and idiotic, this quest for the Holy Grail could not be more hilarious. Pairing a talented cast with earworm-worthy ditties like I Am Not Dead Yet and Always Look on the Bright Side of Life, makes Monty Python’s Spamalot fantastic fun!

Mark Bretz, LaDue News: The touring version of the 2023 Broadway revival of the 2005 Broadway smash hit musical “Spamalot” opens its medieval tent for lots o’ funny business at the Fox, as wacky and silly as ever. “Spamalot” was created by Eric Idle, one of the original members of the British comedy troupe Monty Python’s Flying Circus.

Graham Meyer, Chicago Sun Times: Many differences and additions underscore the fact that it’s a live show. “The Song That Goes Like This” sends up Andrew Lloyd Webber-type building ballads with its self-referential lyrics and three key changes. And “Spamalot”-only jokes have a musical-theater cadence to them, such as when to introduce “Find Your Grail,” King Arthur says having the goal to strive for is what’s important, and that the grail itself is a symbol, a pit musician plays a cymbal. Straight out of vaudeville.

Rachel Weinberg, BroadwayWorld: I much appreciate Spamalot’s mix of both dumb jokes and snappy pop culture references. It still works incredibly well, and it’s a delight. This show also remains both a great entry point to musical theater AND a show for the “real ones.”

Chris Jones, Chicago Tribune: I’m still not in love with this new take — still cheesy, still too much clutter — but this touring cast is far better than the revival’s originals and I’d say that the direction has greatly improved, too; perhaps it’s the work of Derek Kolluri, the associate. Or maybe Rhodes just figured out better where he had gone wrong and found the right people this time.

Jared Fessler, BroadwayWorld: Visually, it’s bright and intentionally over-the-top, with costumes and projections that lean into the “anything can happen” tone. At one point, the show even pulls the audience into the action, which turned into one of the more memorable shared moments of the night.

Jerrod Sumner, Minnesota Monthly: Visually, this tour is an absolute feast. The set design features the most intelligent and effective use of digital projections from a touring production that I’ve seen recently, transporting us through the Middle Ages with all the campy, cartoonish flair of the original Monty Python animations. Jen Caprio’s costumes look like a fever-dream collision of classic Las Vegas glitz and a “RuPaul’s Drag Race” finale.

Rob Hubbard, Twin Cities Pioneer Press: All impress, especially Chris Collins-Pisano as Lancelot, the French taunter and Tim the Enchanter (aided by Paul Tate dePoo III’s flamboyant projections), understudy Graham Keen seizing the role of Robin with gusto, and Blake Segal, who warmly delivers a song from “Life of Brian,” “Always Look on the Bright Side of Life,” which sends the smiling audience whistling off into the night.

Ryan Kreiter, Around The Town Chicago: Standout performances include (but are not limited to) those by a candid, comedic, and effortlessly operatic Amanda Robles (Lady of the Lake), and a bold, deadpan when needed, booming bass, Major Attaway (King Arthur), who expertly drove the parody undertones of Spamalot. However, my standout performer didn’t play just one part; rather, he played four. Switching swiftly between Sir Lancelot, the French Taunter, the Knight of Ni, and Tim the Enchanter, Chris Collins-Pisano should complete this run of Spamalot and then go secure himself a spot on Saturday Night Live. Collins-Pisano left me and those around me in absolute stitches with his blend of energetic slapstick humor, dynamic facial expressions, and perfectly timed joke deliveries.

Katie Burkholder, Rough Draft Atlanta: Chock full of gay jokes, sexual innuendo, and politically incorrect portrayals of several ethnic groups, “Spamalot” is not for everyone. But for all its crudeness, it’s perfectly refined. The show is impeccably timed and choreographed, beautifully produced, and filled to the brim with ridiculous vocal talent.

Bruce Steele and Edwin Arnaudin, Asheville Stages: This national tour is based on the 2023 revival, so it has been slightly updated from the 2005 show (look for references to Taylor Swift and other current cultural touchstones, as well as new tech, as you mentioned, such as creatively employed projections), but the changes, I’m told, are minimal. Original Python member Idle remains credited with the book and lyrics, and as co-composer of the music, with John Du Prez. The original director in 2005, believe it or not, was the legendary Mike Nichols — who won one of the show’s three Tony Awards — and this production’s director, Josh Rhodes, fills his shoes well. We haven’t commented on the sets and costumes, perhaps because they’re exactly on target, so there’s nothing really to critique.

Alan Portner, BroadwayWorld: Rhodes directs with relentless pace and an eye toward comic precision; the production wisely avoids treating the material as sacred text. Instead, it embraces the anarchy that made Monty Python and the Holy Grail a cultural phenomenon. Fourth wall breaks, topical references, and playful improvisations keep the evening feeling fresh while preserving Eric Idle's witty score and delightfully ridiculous book.

JR Deeter, Media Mikes: Major Attaway (Broadways longest running Genie from Aladdin) was excellent. Amanda Robles – vocals and personality – was very entertaining. Each and everyone of the Knights were strong and the Camelot supporting cast were on point for opening night.

Tessa Nelson, BroadwayWorld: Maybe it’s time for a Monty Python resurgence. For a few hours, Spamalot transported me away from the infinite troubles of today’s world and into one that was infinitely sillier. I left the theatre feeling a little like I do at the end of a massage: slightly dazed, pleasantly loose, and like my soul had shaken free of something that had been holding it too tightly.

Ben Hyland, Media Mikes: It’s all silly tuneful fun as Arthur and his band are given a quest to find the Holy Grail that turns into a Broadway musical within a Broadway musical. With dozens and dozens of wonderful costumes, unusual for a touring show, plus the incredible set which includes fantastic projections it’s a dazzling eyeful. These projections are another star of the production- bringing animated characters and real atmosphere to the scenes with amazing visual effects.

R. Scott Reedy, BroadwayWorld: There’s a lot of talent onstage. Among those delivering the daffiness are Roberts as the preening Sir Galahad, Westwood native Chris Collins-Pisano as the clueless and closeted Sir Lancelot, Sean Bell as the frightened-of-his-own-shadow wannabe thespian Sir Robin, and Ellis C. Dawson III as the dim-bulb Sir Bedevere.

Samantha Genzer, Boston.com: “Spamalot” may not be a conventional musical. But that’s part of its appeal. Its plot is less compelling than its parade of absurd jokes and versatile performers. The result is a production that embraces its own ridiculousness — and has plenty of fun bringing the audience along for the ride.

Page Laws, The Virginian-Pilot: The plot is a mash-up of every King Arthur legend you’ve ever heard — just in Spam form. We have Arthur out looking for the Holy Grail, Excalibur, and Knights for his Round Table (the table evidently too large for this stage, and so omitted as a prop). The score delivers songs of plot support such as “All for One,” “Find Your Grail” (actually a valid ballad), and the immortal earworm “Always Look on the Bright Side of Life.” The trick to that last one is that it’s a perpetual motion machine — a chorus that repeats itself (with whistling) ad infinitum. “Find Your Grail” is the only song with any real content or message. But after all, one doesn’t go to a Monty Python show for deep musical insights into the human condition

DC Felton, BroadwayWorld: Whether it's your first time going on a quest to "Spamalot," there is something for everyone. From new experiences for guests to a story-driven production and fantastic performances, audiences get a few hours to sit back, be entertained, and laugh, a welcome escape.

Average Rating: 79.7%