By David Gordon
When Monty Python’s “Spamalot,” the musical extravaganza based on the classic 1975 film “Monty Python and the Holy Grail,” opened in 2005, the citizens of Broadway knew they were in for something huge. After all, it boasted a script and lyrics by original Python member Eric Idle, direction by Academy and Tony Award winner Mike Nichols and starred Tim Curry (“Rocky Horror Picture Show”), Hank Azaria (“The Simpsons”) and David Hyde Pierce (“Frasier”).
Unlike so many “big name” projects that end up floundering, “Spamalot” not only lived up to expectations, it managed to exceed them. It ended up winning Tony Awards for Best Musical, Best Director and Best Featured Actress for Sara Ramirez. (An unknown when the show began, Ramirez went directly from her final performance to the role of Dr. Callie Torres on “Grey’s Anatomy.”)
Now, almost three years since it opened, “Spamalot” is still delighting Broadway audiences with its giddy silliness. While Curry and Azaria have been replaced by less recognizable names (Broadway vets Jonathan Hadary as King Arthur and Rick Holmes as Lancelot, Knight of Ni, etc.), David Hyde Pierce has been replaced by someone just as recognizable, if not more: “American Idol” runner-up Clay Aiken, making his Broadway debut.
Aiken follows a multitude of “American Idol” participants into their Broadway debuts-Fantasia Barrino, Diana DeGarmo and Frenchie Davis among them. His part isn’t very large (he plays Sir Robin, among other roles), but for him, they’ve added verses of songs here and there, as well as a number of lines. He sings well (unsurprisingly), is a solid dancer (the “Fiddler on the Roof”-inspired “You Won’t Succeed on Broadway if You Don’t Have Any Jews” is a show-stopping highlight) and nails almost all of the jokes.
Jonathan Hadary is a solid King Arthur, the one person on stage who must keep order amidst the coconut clacking, French-taunting, cow throwing and farting in everyone’s general direction. Hannah Waddingham, London’s Lady of the Lake, has joined the Broadway cast also, and is just as good, if not better, than role-originator Ramirez. She even manages to take her big second act number, the “Diva’s Lament,” up an octave and sends her powerhouse soprano to the farthest reaches of the balcony.
It’s hard to single out any member of the supporting players-they all look like they’re having such a great time that it’s infectious. Rick Holmes is a fine Lancelot, and fills Azaria’s other part, the Knight of Ni, very well. He even manages to deliver a Clay Aiken joke-he’s the Knight who says “Ni, Ni, if I was invisible, I would just…,” which, of course, sends the Claymates in the audience into raucous cheers.
Christopher Seiber, the original cast member who has returned for a brief time before he plays Lord Farquaad in the upcoming “Shrek: the Musical,” is a scene-stealing, scenery-devouring comic gem as Sir Galahad.
True, some of the jokes are lost along the way-lines and sight-gags skewering Andrew Lloyd Webber, “Les Miserables” and “Phantom of the Opera,” but this is because the audience comprises of mostly out-of-state or international tourists who aren’t culturally aware of them. Eric Idle’s book and lyrics (with music by John DuPrez) are an example of goofy brilliance.
Mike Nichols’ quick-pacing and superbly self-deprecating direction hasn’t been lost through the years, and Casey Nicholaw’s bouncy choreography is as fresh as ever. The design elements-sets and costumes by Tim Hatley and lighting by Hugh Vanstone-are quite pleasing as well.
Monty Python’s “Spamalot” is the perfect cure for the doldrums of winter. Aiken finishes his run at the beginning of May, but not to worry: there’s always a new, famous face waiting to join King Arthur at his “very, very, very round table.”
After three years of immense success, Monty Python’s “Spamalot” continues to draw in the crowds. “American Idol” runner-up Clay Aiken has recently been added to the cast, making his Broadway debut (montypythonsspamalot.com)