Spamalot is an intriguing musical, having controversially won the Tony Award for Best Musical over two decades ago and since been revived around the world as a loving tribute to Monty Python centring around King Arthur and his clan who set off to recover the Holy Grail. The crowd at the Star Event Centre was quite packed out for this show’s very limited run in Sydney and with Monty Python skits playing on the screen on stage before the show, the audience were laughing along, making it clear that this was very much an audience made up of fans of the show who were eager and ready for the action.

While the show is touring around the country, the venue in Sydney is not quite the right fit for the show, with the sightlines from the side making it quite hard to pick up the action and the lack of tiered seating making it a slightly challenging watch at some viewpoints. This is jokingly pointed out by the cast at various points in the show but it does present somewhat of a problem at times for the audience who would have been better served in the Lyric (which I believe is lying dormant at the moment during the show’s short run).

Unfortunately, these problems continue into the first act, which feels slow and plodding, with the prerecorded music doing little to lift the energy. Stephen Curry does a good job as King Arthur but some of the other vocals leave a lot to be desired, as do some of the accents through the act. However, a number of members of the ensemble are very strong, with Jesse Vasiladis and Ethan Jones doing a particularly good job with great banter and chemistry.

The second act features more recognisable songs and has considerably more punch than the first, lifting the energy in the room. Mani McQueen, who gets off to a slow start on the night reviewed, delivers a highlight with her vocals in ‘Diva’s Lament’ while Gareth Isaac also makes a strong impression, helping the second act feel considerably more engaging than what came before. However, despite these improvements, the musical still feels somewhat plodding, with a lack of polish evident at times.

While the set is deliberately minimalist and tacky, that approach really only works when the production feels spotless and seamless, which this one does not always manage. A lot of the humour also falls flat with the script and some of the performances failing to bring out the comedy’s full potential. The absence of a live band is also keenly felt with the prerecorded music making parts of the show feel almost like karaoke rather than a fully realised musical theatre production, which is a shame.

Overall, Spamalot will appeal to Monty Python fans looking for a dose of nostalgia but its flaws may leave those less familiar with the original material struggling to connect with the show. While the cast has its moments and are not helped by the source material, the uneven performances and lack of polish prevent the production from reaching its full potential. Unfortunately, this is a production that may struggle to make a mark on Australia’s very strong theatre industry.

Rating: ★★★

Spamalot played at the Star Event Centre until 18 October.

Photo: Dean Lewins