HOLY GRAIL,
WHOLLY DATED

A high-energy tour packed with talent, nostalgic
chaos, and humor that doesn’t always land in 2026

Risking impalement by a heavily armored knight, and death by cheeky British puns, I joined a lively crowd at Segerstrom Hall for Monty Python’s Spamalot. Shockingly, I am a virgin—to the musical, that is. The film, however, is another matter entirely — I voraciously consumed Monty Python and the Holy Grail in my younger days.

The cast

With music by John Du Prez and Eric Idle, and a book and lyrics by Idle, Spamalot (officially Monty Python’s Spamalot: A Musical (Lovingly) Ripped Off from the Motion Picture Monty Python and the Holy Grail) arrives with built-in expectations—and a legacy now more than 20 years old. Yes, the show is officially old enough to drink. And, depending on your state, buy weed.

Chris Collins-Pisano and Ensemble

The evening begins with delightfully irreverent house announcements—complete with Idle’s voice threatening impalement for rogue cellphones—before the historian (Steven Telsey) launches us into a gleefully absurd medieval England. In true Python fashion, the show immediately undercuts its own premise: the ensemble appears in kansallispuku, the Finnish national costume, dancing around a maypole while belting “The Fisch Schlapping Song,” a nod to the troupe’s iconic 1971 sketch.

The Ensemble

That earnest commitment to silliness—bordering on desperation for chuckles and snorts—is central to Idle’s approach. The show rarely lets a joke pass unpursued, whether through wordplay, physical comedy, or sheer repetition. Sometimes it works brilliantly. Sometimes it feels like it’s trying just a little too hard.

Delaney Benson, Meridien Terrell, Claire Kennard, and Lindsay Lee Alhady

Much of Act I closely follows the original film, with familiar bits arriving like clockwork: the self-flagellating monks, the coconut horse gag, and, of course, the immortal line: “Strange women lying in ponds distributing swords is no basis for a system of government. Supreme executive power derives from a mandate from the masses, not from some farcical aquatic ceremony.” Hearing lines like this again was a Proustian rush — I was instantly transported back to middle school, watching in pajamas and laughing far too hard. Nostalgia is the show’s strongest asset, though it’s delivered largely unfiltered and with minimal reinvention.

Claire Kennard, Lindsay Lee Alhady, Major Attaway, Delaney Benson, Meridien Terrell

Musically, the first act offers plenty of energy but mostly unmemorable numbers. “He Is Not Dead Yet,” performed by Mr. Telsey (Not Dead Fred) Chris Collins-Pisano (Sir Lancelot), Sean Bell (Sir Robin) and the ensemble, is a standout tap number, full of verve. Collins-Pisano is a rather petite Sir Lancelot, which plays more ironically against the character’s bravado, “I am big, and strong, and hot.” “Laker Girls Cheer” also proves to be a crowd-pleaser, though much of the score functions more as a vehicle for jokes than as lasting musical material.

Amanda Robles

The production’s strongest asset is its cast. Amanda Robles is a knockout as the Lady of the Lake, killing it with her vocal dexterity, comedic timing, and undeniable glamour. Whether channeling Linda Ronstadt or quoting vocals from Wicked, she is a joy to watch.

Sean Bell and Ensemble

Steven Telsey, in a whirlwind of roles, emerges as the evening’s true MVP. His delightfully flamboyant queer Prince Herbert is iconic and priceless, and his rapid-fire costume changes only add to the spectacle. He’s also, not incidentally, an excellent dancer.

Blake Segal and Major Attaway

As King Arthur, Major Attaway takes a more ensemble-oriented approach, blending into the company rather than dominating it. While this choice softens the central performance, there is power and appeal when a lead contributes to a cohesive group dynamic.

Sean Bell, Leo Roberts, Major Attaway, Blake Segal,
Chris Collins-Pisano and Ellis C. Dawson III

Director and choreographer Josh Rhodes leans into the material’s nostalgic appeal, assembling a cast that is clearly having a great deal of fun. That said, some design elements—particularly the projections—feel dated, evoking early-2000s aesthetics that don’t quite land with the same charm.

The Ensemble

Sound design remains an issue with national tours at Segerstrom Hall. While I enjoy the architectural marvel that is the hall, as well as its proximity to a Din Tai Fung and a Mitsuwa Marketplace, I have yet to experience a musical here that doesn’t deserve some three to twenty notes for for the sound team. In “Run Away!,” much of the French knight’s dialogue is lost due to a combination of mic levels and diction. And no doubt to save money, the orchestra, while capable, is underpowered, lacking a full, grand presence—especially keys and winds.

Leo Roberts and Amanda Robles

By the end of the evening, the question isn’t whether Spamalot entertains—it certainly does—but whether it still resonates. Man, this musical feels dated. Some material lands differently in today’s cultural climate. “You Won’t Succeed on Broadway (If You Don’t Have Any Jews),” once comically irreverent, now feels icky in light of current global tensions. Likewise, “His Name Is Lancelot,” which plays with queer identity for laughs, can feel dated in a time when those conversations carry far greater weight.

As a queer viewer, I found myself wincing at moments that might once have played as harmless camp. Comedy evolves, and not all of Spamalot has evolved with it.

Leo Roberts and Amanda Robles

And yet, there is something undeniably bittersweet about the experience. The show evokes a time when absurdity felt lighter, when satire didn’t carry quite so much baggage. Watching it now, in a more divided and politically fraught era, that contrast is impossible to ignore.

Still, the cast’s commitment is unwavering. They dance, sing, and throw themselves into the madness with infectious enthusiasm. And in the end, as the show reminds us, perhaps the best we can do is “always look on the bright side of life.”

I laughed. I winced. I applauded.

Steven Telsey, L’ogan J’ones, Chris Collins-Pisano, Conner Coughlin

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photos by Matthew Murphy and Evan Zimmerman

Monty Python’s Spamalot
North American tour
at Segerstrom Hall until February 22, 2026
then plays Vegas, SF
Hollywood Pantages Theatre (March 24-April 12, 2026)
for tickets, visit Broadway in Hollywood
for more dates and cities, visit Spamalot

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