Because the supporting actors rotate round comedic elements and don Jen Carpio’s eye-popping costume designs, the Spherical Desk is rounded out with the skills of SNL alum Taran Killam because the brash Sir Lancelot (Killam does little compelling with Lancelot, however excels at different roles), Michael Urie because the timid Sir Robin, Jimmy Smagula because the flatulent Sir Bedevere, and Nik Walker because the mental Sir Galahad. Ethan Slater (the “SpongeBob Squarepants Musical” O.G.) exploits his versatility, swiveling from a harassed Historian, a Not But Lifeless corpse, a mime, and to the poor Prince Herbert who simply needs to sing. Bottled inside an ornamental half, Leslie Rodriguez Kritzer because the Woman of the Lake gobbles her energy ballad pastiches like Liza Minnelli and Celine Dion. In any case, “No matter Occurred to My Half” pokes enjoyable on the Woman’s plot disappearance, so she makes each minute rely because the musical’s sole girl lead.
Milking its mileage from the acquainted, “Spamalot” lays thick the affectionate theatre references (together with the headline-raising Lea Michele substitute casting in “Humorous Lady”) and the parodic “Songs That Goes Like This.” These embody the hovering vocals of “Defying Gravity,” the sensual Fosse hip sways of “All That Jazz,” and Jerome Robbins’ “Bottle Dance.” Josh Rhodes’ course and choreography mild up the stage with jaunty dancing, tossing throwbacks right here and there. Lesser songs like “I Am Not Lifeless But” are merely extensions of the film’s traces. The basic “At all times Look on the Vibrant Facet of Life” (from the “Lifetime of Brian” film) is the faucet of a sweet-sounding nostalgia button, however interwoven underwhelmingly into Arthur’s setbacks.
Cheapness is a appeal of the low-budgeted film, however the stage’s spinoff projections wrestle for a comic book id. With Paul Tate DePoo III’s projection and scenic design, the graphic renderings ship the gags and the setting along side slick fort and arches, from a genericized computer-generated “Phantom of the Opera” chandelier to a cutout-stylization of God (a feeble homage to Terry Gilliam’s crude aesthetic). A projected falling-chandelier gag ought to crack our ribs in hilarity for us theatre-heads reasonably than induce a chuckle.