I love Monty Python: Spamalot. The last time Monty Python: Spamalot played in Melbourne was eighteen years ago. I hadn’t realised how long it had been until Drew Anthony Creative’s production was announced.
Monty Python: Spamalot is the combination of a ‘lovingly ripped off’ adaptation of the 1975 film Monty Python and the Holy Grail, and the iconic theatre moments that the show cleverly parodies. A lot of time has passed since the musical was last in Melbourne, even more so since the 2005 Broadway production won the Tony Award for Best Musical, but this doesn’t matter as the show has been reinvented.
Produced by Drew Anthony Creative, directed by Drew Anthony, with Associate Producer Rachel Burgess, book and lyrics by Eric Idle, and music by John Du Prez and Eric Idle, with choreography by Jamie and Suzi Rolton, and lighting design by Jason Bovaird, this new version of Monty Python’s Spamalot is modernised by utilising a large screen to create the sets with minimal props. There isn’t an orchestra either, with the show instead relying on tracks. Considering the minimal staging and props, the focus is on the costumes, the excellent lighting, and talented, incredible cast that are having the time of their lives up on the Athenaeum stage.
For the uninitiated, fear not! You don’t have to have seen Monty Python and the Holy Grail nor any other works by the Monty Python gang to enjoy the show (although, there are some clips played on the big screen pre-show). All you need to know is that the story consists of a wacky retelling of King Arthur, with his band of merry knights, a sassy Lady of the Lake, and a sword with its own name. The only prerequisite? You absolutely must have a love of musical theatre as Spamalot makes fun of other musicals, is completely silly, makes fun of itself, whilst being clever at the same time.
Stephen Curry is great as King Arthur. Clearly the silliest of them all, Curry is a natural to the point where one would think that the role was created for him if you didn’t know any better. He also looks great in the costume design by Annette Stivaletta, the excellent costume helps Curry embody a role that the late great Tim Curry (no relation) originated on stage, whilst still making it his own.
It’s been far too long between dance cards for Jaz Flowers and Australian theatre is all the better for it, now that she’s returned to where she belongs! Exclusive to Melbourne, Flowers knocks it out of the park as the stage commanding, sword gifting, Lady of the Lake. You just know she’s having fun being the sassy diva that the script demands for, especially when the other characters have all lost the plot. ‘Diva’s Lament (Whatever Happened to My Part?)’ will have you convinced that this queen may be the biggest baddie of them all.
Jamie Rolton is a scene stealer as Patsy, the king’s… well, everything. Wielder of the coconuts, and the king of facial expressions, Rolton also has great dance movies, killing it in a tap-dancing number, and has excellent chemistry with Curry’s King Arthur, whether his majesty acknowledges poor Patsy or not. ‘I’m All Alone’ is a great moment that Rolton steals from Curry, and it’s just as funny as I remember.
It is criminal that Jesse Vasiliadis’ gorgeous hair is hidden beneath Sir Lancelot’s costume for most of the show. But when Lancelot is able to let his hair down (quite literally), you are in for a treat. My only criticism is that ‘His Name Is Lancelot’ could’ve been camper than it was and had a severe lack of rainbows. Although I understand that this production may have been going for something different in this scene, with less hip thrusting and more black attire to be cool rather than ridiculous, these choices also remove a bit of the fun that I recall seeing from previous productions.
Gareth Isaac is perfectly cast as ‘brave’ Sir Robin; He kills it in ‘You Won’t Succeed on Broadway’ with powerful vocals, excellent stage presents and somehow makes musical theatre look easy! Even his other role as the priest with the special hand grenade, Isaac knocks it out of the park.
Noah Skape is cheeky as Sir Bedevere, Nick White is mischief personified as the Man of Many Characters. However, the standout by far is Ethan Jones as both Sir Galahad and Prince Herbert. Now normally, these characters aren’t played by the same actor, but Ethan Jones plays both brilliantly and I’m convinced that he can do anything. It should be illegal on just how damn talented Jones is. It is not fair for the rest of us!
As previously stated, Drew Anthony Creative has a unique approach on bringing this beloved musical back to the Australian stage. I liked the choice of bringing the crew into the scene for ‘I’m All Alone’. I thought the way the red curtain appeared on the screen was a little jarring and took my attention away from the performer, although the rest of the show looked fine. I must confess, I haven’t decided how I feel about the black knight confrontation scene, despite being quite clever, I found myself missing the theatre magic of that scene. However, if you have never seen Spamalot before, I guess you wouldn’t know any better, or different. I also understand how much easier and affordable it is to rely on using tracks rather than putting together an orchestra. But does it make it right?
Overall, Drew Anthony Creative has brought back Monty Python: Spamalot to Australia, which has been off stage for far too long. Had it not been for this company, I’m not sure when I would have been able to see this show again, and through this production, many have been given the opportunity to see this musical for the very first time.
I originally fell in love with this musical eighteen years ago when I needed it the most. While the screen and track music isn’t for everyone and will be debated long after this production is over, I can’t deny that Drew Anthony Creative’s show actually works. I am grateful that despite the world being a scary place filled with fear, wars, political bullshit, climate change, AI expanding, financial strife, the LA Rams thinking they can win a match in Australia when only flying in the day before, and future uncertainty, to be reminded to “always look on the bright side of life” and have the privilege of putting away the noise of the world for a while, to escape into the silliness of Monty Python‘s version of King Arthur, it is a honestly a blessing.
Monty Python’s Spamalot is somehow still relevant and exactly what we need right now, even if only for a little while before we face the world again.
Drew Anthony Creative‘s production of Monty Python‘s Spamalot is currently playing at the Athenaeum Theatre until October 10th.
For more information and ticketing, visit:
https://www.drewanthonycreative.com.au/spamalot-melbournesydney-2026
https://www.instagram.com/drewanthonycreative
Photography by Grant Alexander.
