Graham Meyer — Theater Critic

The series of contrivances constructed to motor the swerving plot, such as the Polish deus ex machina, do not feel earned. The set-’em-up, knock-’em-down quality to the story construction makes the unfolding too obvious and leaves holes. For example, we’re told early on that if the band ever starts playing “The Stars and Stripes Forever,” everyone should drop everything and run. So we’re meant to keep that in mind, but then when we hear it during the stampede, we are not meant to question why the musicians are playing a Sousa march instead of, say, fleeing.

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.