Review: SPAMALOT Revives A New Quest at OC's Segerstrom Center

Initially billed as a show that was "lovingly ripped off" from the 1975 cult classic film Monty Python and the Holy Grail, the Tony Award–winning 2005 Broadway musical comedy MONTY PYTHON'S SPAMALOT™ gleefully gallops back onto the stage in a brand new production with its signature coconut-clacking bravado, irreverent wit, and steadfast commitment to theatrical absurdity very much intact. The show's latest national tour—replicating its 2023 revival directed and choreographed by Josh Rhodes—continues its short week-long engagement at OC's Segerstrom Center for the Arts in Costa Mesa through February 22, 2026 (the show is also scheduled for the Hollywood Pantages Theatre from March 24 through April 12).

Featuring book and lyrics by Eric Idle and music by Idle and John Du Prez, this hyper self-aware musical comedy—referencing many of the familiar bits featured in its cinematic source material—reimagines the Arthurian legend not as a sweeping epic, but as a deliriously silly quest peppered with showbiz razzmatazz, meta-theatrical commentary, and an unapologetic embrace of the ridiculous. Two decades after its debut, the show—as seen in this wonderful new production—is certainly still a laugh riot, even if you sometimes cringe a little at the dated jokes that lean into some unfortunate stereotypes.

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. Like most things on tour, things have been slightly economized, and so some very minor concessions were made compared to the previous tour, which, to be honest, are minuscule at best (i.e., Camelot was less Vegas-y than before).

But even with that, the show truly revels in theatrical excess, as evidenced in its lavish costumes, deliberately over-the-top choreography, and a set design that gleefully oscillates between medieval pageantry and loud, neon-lit artifice to create a heightened world where anything feels possible. The production's design elements are intentionally kept flamboyant, reinforcing the show's central joke: that even the most sacred of legends can be transformed into a glittering Broadway extravaganza.

The story still follows the well-meaning but perpetually perplexed King Arthur (a winning Major Attaway) who assembles a motley band of Knights for his infamous Round Table which include the brave Sir Lancelot (Chris Collins-Pisano), the macho man hiding a secret desire, the cowardly Sir Robin (Sean Bell) who discovers a penchant for musical theatre, and the vain Sir Galahad (Jack Brewer on Opening Night) who takes on narcissistic tendencies after his magical glow-up (ah, the wonders of a shower and hair products). 

And, of course, the collective is also accompanied by King Arthur's ever-enthusiastic, coconut-clacking squire Patsy (the super funny L'ogan J'ones on Opening Night) on their quest to locate the Holy Grail, the legendary sacred relic believed to have been the chalice that Jesus used during his last supper. 

Along the way, they encounter a parade of increasingly comic obstacles: taunting French soldiers, homicidal rabbits, giant forest Knights that say "Nih," a chorus line of exuberant showgirls, and a sparkly, riff-tastic Lady of the Lake (the super awesome Amanda Robles) who aspires to—er, demands—diva status with every showstopping entrance. While the narrative loosely tracks the familiar beats of the original film, the stage musical gleefully breaks the fourth wall throughout, satirizing Broadway conventions and pop culture touchpoints, ultimately culminating into a LOL-ing celebration of the sheer joy of theatrical performance.

From its opening moments to its last hurrah, SPAMALOT™ announces itself as a musical that refuses to take anything—including itself—too seriously. Idle's book is densely packed with rapid-fire jokes, groan-worthy puns, and gleefully anachronistic references that skewer everything from Broadway trends to contemporary pop culture. As expected, those references now include fresh updates for this new revival, from mentions of K-Pop Demon Hunters, TikTok, and disgraced former Senator George Santos, to even sequences featuring a certain fiddler playing on a rooftop, Elphaba's "Defying Gravity" ending riff, a cameo from the "Frooooonce!"-screaming beauty pageant contestant, and a new voice of God that sounds a lot like Steve Martin. There are so many bon mots in the show that it's quite easy to miss a joke or three once the audience is loudly cracking up (it didn't help that, once again, the sound mix for touring musicals at Segerstrom Center is frustratingly problematic, rendering some of the audio incomprehensible).

The hummable, memorable score—helmed by the baton of musical director Jonathan W. Gorst—is still a playful pastiche, weaving together grand Broadway-style anthems, faux-operatic flourishes, and cheeky, Vegas Club-style dance numbers that simultaneously parody and pay homage to musical theatre canon. 

Yet beneath its relentless silliness lies a surprisingly intuitive, sophisticated understanding of the theatrical form. Numbers like "The Song That Goes Like This" and "You Won't Succeed on Broadway" function as affectionate send-ups of musical theatre tropes, winking knowingly at audiences familiar with the genre's conventions. Meanwhile, the Lady of the Lake's powerhouse numbers offer a satirical yet genuine showcase for a leading lady's vocal prowess, embodying both the absurdity and the thrill of the Broadway diva tradition. Robles, for her part, earns 10's across the board for her work here.

The rest of the ensemble ain't too shabby either. More than anything, the musical's greatest strength is its ensemble-driven comedic energy. Each principal role is crafted as a comedic showcase, allowing their performers to inhabit multiple characters, deliver quick-change transformations, and lean fully into the show's modern-skewing vaudevillian spirit. The physical comedy—often bordering on the cartoonish—demands precise timing and fearless commitment, and this company definitely delivers, rewarding audiences with laugh-after-laugh while maintaining a brisk, buoyant pace. 

Attaway's Arthur certainly has buffoon-tendencies, but is never a dimwit. And the Knights all create distinctive characters (if, at times, trope-reliant) with respective, individual nuances, while also donning multiple other personas along the way. J'ones is effortlessly endearing as he steals the show, and, really, the whole lot of SPAMALOT™ is just winningly superb.

Still, for all its comedic inventiveness, SPAMALOT™ occasionally risks exhausting its own punchlines. The relentless barrage of jokes can sometimes overshadow narrative momentum, and certain punchlines and sight gags—particularly those rooted in stereotypes that are on the cusp of being offensive in today’s world—may feel less potent in our more woke times. Yet, I admit, these minor quibbles are ultimately outweighed by the show's infectious sense of fun and its unabashed celebration of theatricality. 

And, yes, in 2026… Lancelot finally gets to kiss!

At its core, SPAMALOT™ is less about the Holy Grail than it is about the joy of stage performance itself. It merrily dismantles the notion of high-minded storytelling, replacing it with a love letter to the artifice, spectacle, and communal laughter that define live theatre—and, more specifically, musical comedy. In doing so, it reminds audiences that sometimes the most meaningful quest is simply the pursuit of a good laugh—and on that front, SPAMALOT™ remains a shiny, happy crown jewel amongst Broadway's musical comedy royalty.

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Photos from the National Tour of Monty Python's SPAMALOT by © Matthew Murphy and Evan Zimmerman, courtesy of Segerstrom Center for the Arts.

Performances of Monty Python's SPAMALOT continue at Segerstrom Center for the Arts in Costa Mesa, CA through February 22, 2026. Tickets can be purchased online at www.SCFTA.org, by phone at 714-556-2787 or in person at the SCFTA box office (open daily at 10 am). Segerstrom Center for the Arts is located at 600 Town Center Drive in Costa Mesa. For tickets or more information, visit SCFTA.org. 

The tour will also perform in Los Angeles at the Hollywood Pantages Theatre from March 24 – April 12, 2026.