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SPAMALOT BROADWAY REVIEWS
Opening Night: March 17, 2005
Synopsis: Telling the legendary tale of King Arthur, the Knights of the Round Table and the quest for the Holy Grail, Monty Python's Spamalot features a chorus line of legless knights, men in tights (with killer legs), killer rabbits and sexy dancing divas. Click here for tickets.
NEW YORK TIMES REVIEW:
""That Spamalot is the best new musical to open on Broadway this season is inarguable, but that's not saying much." "
""In Monty Python's Spamalot, the new musical "lovingly ripped off" from the 1975 film Monty Python and the Holy Grail, England's great leader of legend is at once reduced and rejuvenated by some of the funniest antics introduced on a Broadway stage since ... well, since the dawn of another musical lovingly ripped off from a cult comedy classic: Mel Brooks' The Producers.""
""Though billed as "lovingly ripped off" from 1975's "Monty Python and the Holy Grail," Spamalot truthfully has only a tangential relationship to that deeply cynical satire of class and history. Original troupe member Eric Idle has recycled and rearranged iconic scenes and lines - the killer rabbit, taunting Frenchman, clip-clop coconuts, "I'm not dead yet" - but with a jaunty brio much at odds with film's damp, dreary realism. Show seems the product of addicts who delightedly remember key routines but haven't seen the movie for years.""
""All too often I was reminded of Mamma Mia! - the Python fans around me greeted familiar routines the way the Mamma Mia! audience laughed when it recognized the ABBA songs in their new context. This kind of "recycling" encourages the audience to congratulate itself for what it already knows, rather than experience anything fresh. (Maybe that's not a bad thing, since Mamma Mia! is likely the most successful musical in theater history.)""
""Monty Python's Spamalot is so polished and user-friendly, in fact, that those whose adolescences were irreparably warped by "The Holy Grail" - and we know who we are - will miss the low-budget flick's spiky, unapologetic anarchy.""
""The folks who've crafted Spamalot as if piecing together a gaudy Tinkertoy haven't just reexamined what made musicals of the '40s and '50s entertain large audiences. They've scampered back to the '30s, when musicals were built around stage clowns like Bert Lahr and Ed Wynn, and even farther back to the '20s, when it was virtually a requirement that frivolous plots end with a wedding.""
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