(L-R) Claire Kennard, Lindsay Lee Alhady, Major Attaway, Delaney Benson, and Meridien Terrell in the North American Tour of SPAMALOT. Photo by Matthew Murphy and Evan Zimmerman.

Presented by Boch Center Wang Theatre
Book and Lyrics by Eric Idle
Music by John Du Prez & Eric Idle
Directed & Choreographed by Josh Rhodes
Music Directed by Jonathan W. Gorst

October 8 – 11, 2026
Boch Center Wang Theatre
270 Tremont St
Boston, MA 02116

Runtime: 2 hours and 20 minutes, including intermission.

Review by Helen Ganley

BOSTON — Arthurian Legend – a literary colossus within British history. The lore encompasses the trials, feats, and follies of King Arthur and his knights within the kingdom of Camelot. These narratives bestow their readers with messages of honor and chivalry. Spamalot, based around these foundational mythologies… Does not … (in the best way!) Spamalot, or as it’s properly titled and subtitled, Monty Python’s Spamalot; A musical lovingly ripped off from the motion picture “Monty Python and the Holy Grail,” takes inspiration from an already vaudevillian and slapstick movie and cranks the silliness up tenfold in the way only theater can. Although the main quest is reminiscent of the original fables, King Arthur and his knights seek the holy grail, the show’s series of vignettes shows the team encountering outrageous and nonsensical barriers.

The knights of the Round Table are a ragtag team, including Sir Robin (Sean Bell), Sir Lancelot (Chris Collins-Pisano), Sir Galahad (Leo Roberts), and Sir Bedevere (Ellis C. Dawson III). Bell is animated and flamboyant, his coquettish cowardice discarded during his impressive rendition of “You Won’t Succeed on Broadway.” The quartet brings distinct and enthralling energy, creating almost a sense of surprise at their masterful harmonies during “Knights of the Round Table.”

Reigning over his knights is King Arthur (Major Attaway) and his guiding compass, The Lady of the Lake (Amanda Robles). Attaway has nonchalant energy that creates a tonal hilarity from its contrast to the outrageousness occurring onstage. Robles is a vocal dynamo, showcasing operatic soprano, jazzy riffs, and classic Broadway vibrato during “Diva’s Lament.”

A notable standout was Steven Telsey as, well, eight different roles. Although differentiated through costumes and makeup, Telsey was unmistakable throughout the show with his telltale physicality and vocal chops. Whenever he was onstage, I found myself pointing to my companion, indicating that he was back onstage, which never failed to excite us both.

Technically, the show is a tour de force. The orchestra backs the entire production (Jonathan W. Grost), although occasionally a bit loud, while intricate projections dance across the set (Paul Tate DePoo III). Each costume (Jen Caprio) is tactful and distinct, especially The Lady of the Lake’s shimmering sequins and blue velvet robe. Spamalot is as ridiculous as it is entertaining – for both fans of the movie and those who
haven’t seen it (e.g., me). The Boch Center Wang Theatre’s production is sure to make you want to get up and sing along… which you should prepare to do!

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