Overview
Synopsis
Spamalot tells the legendary tale of King Arthur’s quest to find the Holy Grail. Inspired by the classic comedy film, Monty Python and the Holy Grail, the musical also diverts a bit from more traditional versions of the legend. Instead, Spamalot features shenanigans including a line of beautiful dancing girls, flatulent Frenchmen, and killer rabbits. Outside, there is plague with a 50% chance of pestilence and famine. Throughout the show, Arthur, traveling with his servant Patsy, recruits several knights to accompany him on his quest, including Sir Bedevere, Sir Robin, Sir Lancelot, and Sir Galahad. Besides the rabbits and farting Frenchman, they meet such characters as the Lady of the Lake, Prince Herbert, Tim the Enchanter, Not Dead Fred, the Black Knight, and the Knights who say Ni.
Show Information
- Book
- Eric Idle
- Music
- John Du Prez , Eric Idle , Neil Innes
- Lyrics
- Eric Idle
- Based on the Play/Book/Film
- Monty Python and the Holy Grail (film)
- Category
- Musical
- Age Guidance
- Youth (Y)/General Audiences (G)
- Number of Acts
- 2
- First Produced
- 2004
- Genres
- Comedy, Farce
- Settings
- Period, Multiple Settings, Spectacle
- Time & Place
- England. Medieval period.
- Cast Size
- large
- Orchestra Size
- Large
- Dancing
- Some Dance
- Licensor
- Theatrical Rights Worldwide
- Ideal For
- Mostly Male Cast, Professional Theatre, Regional Theatre, Includes Adult, Mature Adult, Young Adult, Late Teen Characters, Large Cast
Context
Spamalot was inspired by the movie, Monty Python and the Holy Grail, and was co-created by one of the movie’s writers, Eric Idle. The title, Spamalot, comes from a line in the movie: “We eat ham, and jam, and spam a lot”. The musical was written by Eric Idle, with additional music by John du Prez and Neil Innes. The musical previewed in Chicago, officially opening in January 2005. During its run in Chicago, some musical numbers were dropped from the first act. The Broadway production,
to read the context for Spamalot and to unlock other amazing theatre resources!Plot
Act One
The Historian appears to set the scene. He describes medieval England, emphasizing the widespread plague throughout the country. The Historian introduces King Arthur as the King of England but, in a comical misunderstanding, the ensemble mistake ‘England’ for ‘Finland’ (“Fisch Schlapping Song”). The Historian corrects them and the song is brought to an abrupt end. In a bleak English village, hooded monks chant in Latin before King Arthur enters with his servant, Patsy. They are
to read the plot for Spamalot and to unlock other amazing theatre resources!Characters
| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
Lead |
Male |
Tenor, Baritone |
|
|
Lead |
Female |
Alto |
|
|
Lead |
Male |
Baritone |
|
|
Lead |
Male |
Bass-Baritone |
|
|
Supporting |
Male |
Bass-Baritone |
|
|
Supporting |
Male |
Tenor, Baritone, Bass, Bass-Baritone |
|
|
Supporting |
Male |
Baritone |
|
|
Supporting |
Male |
Tenor |
|
|
Supporting |
Male |
Tenor |
|
|
Supporting |
Male |
Spoken |
|
|
Featured |
Male |
Tenor, Baritone, Bass, Bass-Baritone |
|
|
Featured |
Male |
Tenor, Baritone, Bass, Bass-Baritone |
|
|
Featured |
Male |
Tenor, Baritone, Bass, Bass-Baritone |
|
|
Featured |
Male |
Tenor, Baritone, Bass, Bass-Baritone |
|
|
Featured |
Male |
Tenor, Baritone, Bass, Bass-Baritone |
|
|
Featured |
Male |
Tenor, Baritone, Bass, Bass-Baritone |
|
|
Featured |
Male |
Tenor, Baritone, Bass, Bass-Baritone |
|
|
Featured |
Male |
Tenor, Baritone, Bass, Bass-Baritone |
|
|
Featured |
Male |
Tenor, Baritone, Bass, Bass-Baritone |
|
|
Featured |
Male |
Tenor, Baritone, Bass-Baritone |
|
|
Ensemble |
Not Specified |
Soprano, Mezzo-Soprano, Alto, Tenor, Baritone, Bass |
Songs
Act One
Act Two
A song with an asterisk (*) before the title indicates a dance number.
Monologues
Scenes
Key Terms
A dramatic movement emphasizing existentialism and irrationality, often rejecting traditional plot structures.
A version of a work modified from another medium or language, making it suitable for a new performance context.
A recurring character type or symbol representing universal patterns in storytelling, often used in classical and contemporary theatre.
A narrative song or poem often used in musical theatre and opera to convey story and emotion through melody.
Farce is a comedic style that emphasizes exaggerated situations, improbable coincidences, mistaken identities, and rapid pacing. It often includes physical humor such as slamming doors, frantic chases, or characters hiding in plain sight. Farce is designed to generate nonstop laughter, often prioritizing chaos and absurdity over realistic storytelling.
A staple of musical theatre where the protagonist expresses a deep personal desire, setting the emotional tone for the narrative.
A form of self-referential drama where the play draws attention to its own theatricality. This device challenges the audience’s suspension of disbelief and is used in Epic Theatre and postmodern works.
A body of traditional stories involving gods, heroes, and creation myths. Mythology provides inspiration for characters and narratives in global theatre traditions.
Parody is a comedic imitation of a style, genre, or work that exaggerates its features for humorous or satirical effect. In theatre, it playfully mocks conventions, characters, or cultural icons while still relying on audience recognition of the original. Parody can both celebrate and critique its subject, often blurring the line between homage and ridicule.
A work imitating styles or genres from various sources, often used in postmodern theatre for satire or homage.
A dramatic style focused on dreamlike imagery and illogical scenes to explore the subconscious or challenge realism.
Videos
Quizzes
Themes, Symbols & Motifs
THEMES
Parody and Satire
At its core,
to read about the themes, symbols and motifs from Spamalot and to unlock other amazing theatre resources!Quote Analysis
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