Michael Urie and a gay cavalcade gallop onto Broadway in ‘Spamalot’

The Rundown

With a flip of his blonde wig, an occasional pursed lip, and a comically-timed eye roll, Michael Urie plants a big gay kiss on King Arthur’s Court. For those like myself, who has been convalescing in Broadway theaters for over 20 years, a Spamalot revival that stood a chance compared to the original production seemed as likely as drawing a sword from stone. But as Arthur and his misfit entourage prove, a little comedic muscle goes a long way.

Based on the film Monty Python and the Holy Grail, the musical didn’t entirely sweep the 2005 Tony Awards (the stacked season included another film-to-stage adaption, Dirty Rotten Scoundrels, The Light in the Piazza, and The 25th Annual Putnam County Spelling Bee). Still, it did win the coveted title of Best Musical and put Sara Ramirez in the spotlight as Best Featured Actress.* The original cast also included a brilliant Tim Curry and David Hyde Pierce.

But what’s old is new again in a revival directed and choreographed by Josh Rhodes. The production originated at The Kennedy Center in Washington, D.C., and after a bit of recasting, arrives at the St. James Theatre for a fresh frolic through Camelot.

No Tea, No Shade

The first writings about the legend of King Arthur date back to the early 12^th century. Since then, plenty of scribes have offered their take on the British monarch and the legendary Knights of the Round Table. (Aaron Sorkin had a go last season, delivering a sleepy revision to Lerner and Loewe’s Camelot, adapted from T.H. White’s The Once and Future King.)

British comedy troupe Monty Python flipped the tale on its head for the 1975 film, which immortalized such quotes as “Are you suggesting coconuts migrate?” and the Black Knight’s response after a limb-losing battle with King Arthur: “’Tis but a scratch.”

James Monroe Iglehart, as King Arthur, leads the merry (in more ways than one) band on their quest, with sidekick Patsy (Christopher Fitzgerald) in tow. Each Knight — Sir Lancelot (Taran Killam), Sir Bedevere (Jimmy Smagular), Sir Galahad (Nik Walker), and Sir Robin (Michael Urie) — have their moment to shine, but it’s the sum of the parts that makes Spamalot a Medieval comedic throwdown you won’t want to miss.

If only Paul Tate dePoo III’s scenic and projection design delivered as much personality, the latter reducing Spamalot’s visual appeal to a throwback of Atari’s 1985 video game Gauntlet. The effect contradicts what otherwise feels like a merry band of players — much like the mechanicals in Shakespeare’s A Midsummer Night’s Dream — that could have fallen off the back of a wagon to present their tale.

Let’s Have a Moment

Arthur’s sweeping quest wouldn’t be complete without a love interest. Enter The Lady of the Lake, an otherworldly enchantress that captivates the Knight with her beauty — and, in this case — vocal prowess and enigmatic presence. Leslie Rodriguez Kritzer steals the show with several mic drop moments, including vocal riffs that pay homage to some of our favorite pop divas. A Carol Burnett caliber comedic genius (she actually played Burnett in the final season of The Marvelous Mrs. Maisel), Kritzer also improvises her way through portions of Eric Idle’s book, creating one-of-kind moments in which her castmates can barely contain themselves.

Kritzer’s eighth Broadway show may finally secure her a well-deserved Tony win. Much like Alex Newell’s star turn in last season’s Shucked, wear comfortable shoes for Kritzer’s mid-show standing ovation.

The Last Word

Will Spamalot go down in the history books as one of Broadway’s best? It’s doubtful you’ll leave humming much from John Du Prez and Eric Idle’s score, except perhaps the Act II opening, “Always Look on the Bright Side of Life.” But given the dark clouds hovering over the world these days, the bright side looks pretty damn good, especially when seen through rainbow-tinted glasses.

Urie, who received the Queerties 2023 Catalyst Award, told audiences, “When I was first getting into the business, they told me, ‘Don’t take any more queer parts.’ But my God — there are so many kinds of queer people. And once I realized that I said, ‘I’m going to play queer anywhere I can.’ This is the greatest community in the world.”

And that’s a quest King Arthur and his merry band can take on at any time.

Spamalot plays on Broadway at the St. James Theatre.

*Queerty recognizes Sara Ramirez’s pronouns as they/them and references the Tony Award win as it was titled.

Related:

Broadway’s Anthony Michael Lopez on his queer fantasy ‘Camelot’ and dancing in Daniel Craig’s living room

Lopez makes his Broadway debut in the Lerner & Loewe musical, and previously starred alongside Daniel Craig in the Off-Broadway production of ‘Othello.’