Can you find me a shrubby?
Would you know how to defeat the killer rabbit of Caerbannog?
Is it just a flesh wound?
Are you able to tell me the airspeed velocity of an unladen swallow – African or European?
Does your father smell of elderberries?
If your answer is hearty not-dead-yet aye, then you may continue on your quest…I mean read of this review.
If you are slightly puzzled, then I suggest you go away or I shall taunt you a second time.
Growing up in rural Queensland in the 80s, with the grand total of four basic television channels at my disposal, my childhood entertainment menu was decidedly British. The Goodies, Fawlty Towers and Monty Python were staples and whether I understood every joke at the time is questionable. And out of all the Python outputs, Monty Python and the Holy Grail and The Meaning of Life, consistently battle for my favourite movie. John Cleese is one of my comedy icons and heroes.
I mean, what’s not to love about a quest for a sacred relic involving imaginary horses, a Black Knight with a spectacularly poor grasp of when to concede defeat, a King who can’t count and strange women lying in ponds distributing swords?
For those brave souls that have dared continue on their quest…I mean reading of this review and are still slightly confused, let me tell you a quick tale.
Monty Python’s SPAMALOT is Eric Idle’s lovingly irreverent stage adaptation of Monty Python and the Holy Grail (with a small bit of The Life of Brian thrown in), with music by Idle and John Du Prez. Premiering in Chicago in 2004, before transferring to Broadway (it must have had some jews) in 2005 where it went on to win three Tony awards, including Best Musical, followed by a West End start in 2006.
Side note here for some of the actors of productions past. The indomitable, late great Tim Curry, Hank Azaria, David Hyde Pierce, Sara Ramirez, Christopher Sieber and Hannah Waddingham – just to name a few.
This isn’t the grails first quest in Australia, with productions in 2007-8, 2014 and 2019 (nor is it the first time I’ve seen the musical). This time, Drew Anthony Creative brings the bumbling round table knights to Sydney – after a Perth stint and an extended Melbourne run.
Stephen Curry (“The Castle”, “The Secret Life of Us”) leads the charge as King Arthur – whose kingdom is in questionable shape – just like his chosen form of transport.
As King Arthur travels the land (not Finland) to recruit knights for his adventures towards Camelot and then noble quest, he is not alone, despite what he sometimes may think. Joining him as his trusted advisor and coconut-clapper Patsy, played by Jamie Rolton and as the aforementioned sword distributing woman, The Lady of the Lake, the Sydney season welcomes Marney McQueen (Titanique, Priscilla Queen of the Desert).
Rounding out the Knights of the Round Table (geddit?) are Nick White as Man of Many Characters; Gareth Isaac as Sir Robin; Jesse Vasiliadas as Sir Lancelot; Noah Skape as Sir Galahad and Ethan Jones as Sir Bedevere.
Not only does the cast have the previous Broadway, West End and Australian shoes to fill, they also walk (and dance) in the great shadows of Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones and Michael Palin.
And by divine intervention, and natural talent, we are blessed that they do.
Curry is charmingly chaotic, childish and charismatic as the (sometimes) clueless King of the Britons. Whilst this may be his musical theatre debut, he appears very at home on stage…some might say, he has made it his Castle (look, the show leans into this joke, so can I). Rolton as the exasperated but enthusiastically esquire Patsy is just a delight. Leaning so far into her previous diva persona that she nearly falls over, McQueen quite frankly steals every scene she is in and is a wonderful watery tart.
The assembled knights were brave, noble and individual champions when their time came. Extra props to Issac for his genuinely joyous delivery of ‘You Won’t Succeed on Broadway’ with its original text – something that some shows shy away from replacing it with the alternatives. A hearty huzzah to the team for keeping this number as is, and using the appropriate places in the show for local jokes and references.
What cost this production a full five stars is the staging and venue. I can appreciate, and wholeheartedly support, productions looking for ways to continue to stage musicals in the most economic fashion, and make use of available venues. But in this instance, I felt the overwhelmingly obvious lack of props (with a large LED screen doing all the heavy lifting), smaller cast and the pre-recorded soundtrack in the vast cavern of the Sydney Event Centre took away some of the inherent joy that musical theatre can deliver.
As for the Holy Grail itself? Well, perhaps the real treasure isn’t the Grail, it’s the opportunity to spend an evening holding your sides from laughing too much at the enduring legacy that the Python team have created and continues to be a crowd favourite all these later, spectacularly served to us by this cast and crew.
Run away quickly as Monty Python’s SPAMALOT plays at the Sydney Event Centre at The Star Sydney from 15–18 October 2026, followed by the Coliseum Theatre in Western Sydney from 22–25 October 2026.
