SPAMALOT TICKETS

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 Spamalot History
  The blend of star appeal, Python pedigree and a
  handful of decent gags might well be enough to make
  Spamalot a runaway hit. (Or, as the hapless King
  Arthur would say, a "Run away!" hit.) That alchemic
  combination of old material and new stagecraft,
  however, rarely takes place. The beloved Python
  routines are performed with relish but little in the way
  of fresh insight. Most surprisingly, many of the new
  jokes feel like placeholders, as if the script were
  riddled with Post-Its saying, "Fine for now until we
  think of some thing funnier." Perhaps director Mike
  Nichols and bookwriter/lyricist/co-composer/Python
  veteran Eric Idle were distracted by the need to cobble
  together even the barest structure from their source
  material. The 1975 cult classic Monty Python and the
  Holy Grail lurches from one shaggy bit of surrealism
  to the next without the slightest concern for narrative
  or characters.

   Much of the movie remains intact: From the Knights Who Say "Ni" to the holy hand grenade, the
  essential sketches are presented almost verbatim. A rudimentary romance between King
  Arthur and the Lady of the Lake has been added, though, and several of the knights have more
  material to work with. Spamalot also bothers to come up with an ending, unlike Holy Grail. (The
  two do share an unfortunate weakness for opening gags about Finland.)Like The Producers,
  an obvious inspiration, Spamalot bolsters its source film's few familiar songs with a set of
  robustly unmemorable melodies. Nichols, Idle and composer John Du Prez
  hedge their bets, giving three or four up-tempo tunes a glitzy hard sell ratherthan earmarking a
  single "big number." A plague-be-damned song called "Not Dead Yet" comes off well, and "The
  Song That Goes Like This," an oft-repeated paean clichés to the Lloyd Webber-style pop
  musicals, is almost as clever as the show thinks it is. Here and elsewhere, Tim Hatley's clever
  sets and costumes pay frequent homage to Holy Grail as well as to the wider worlds of Python
  and Broadway. In fact, several songs adopt the fashionable habit of tossing in pop-culture
  references, particularly to other Broadway musicals. Fiddler on the Roof, Les Miserables,
  Company ("Another hundred people just contracted the plague," sings one character) and
  several other shows come in for lampooning. But for all the time devoted to the references, the
  satire is fairly toothless. (Gene Shalit gags in 2005?) Forbidden Broadway does the same
  thing year after year with a fraction of the volume and twice the knowing wit. Nichols has also
  been asked to stage several daunting visual effects from the movie, and he's particularly
  successful with the airborne cow and ferocious rabbit. (Hatley's sets and Hugh Vanstone's
  tantalizing lighting share the credit here.) The sequence involving a fearless and increasingly
  limbless knight also gets a thoughtful restaging. Nichols has less luck pushing choreographer
  Casey Nicholaw to go deeper than the show's Susan Stroman-lite dance sequences.