By AJ Jaffari

What happens when you mix Monty Python absurdity with Broadway spectacle? Spamalot at ATG San Francisco gallops onto the stage with coconuts in hand and absolutely no intention of taking itself seriously. Lovingly ripped off from Monty Python and the Holy Grail, this musical adaptation embraces the ridiculous at every turn—complete with killer rabbits, flying cows, and a chorus line that would make King Arthur so proud.

At its core, though, Spamalot is more than just rapid-fire punchlines and fourth-wall breaks. With a Tony Award–winning score by Eric Idle and John Du Prez, the show cleverly parodies the very idea of Broadway itself, blending medieval mischief with big musical theatre bravado. ATG’s San Francisco stop leans fully into that joyful chaos, delivering an evening that’s as knowingly silly as it is undeniably entertaining.

This was actually my first experience seeing this show and I gotta say, I kept waiting for some deep, emotional plot line to come through… and it never did. If you’re looking for a fun night out that requires no brain power, look no further and prepare to be entertained. This is a show that can offer something for everyone. And honestly, who doesn’t love a musical that makes fun of other musicals?

My standout of the evening was Chris Collins-Pisano, who tackled no fewer than four roles throughout the show. What impressed me most was his ability to clearly differentiate each character, giving every one a distinct and very animated personality while keeping the comedy sharp and engaging. It’s no small feat in a show as fast-paced and absurd as Spamalot, yet he made each transition feel effortless and entertaining.

I also have to give a huge round of applause to the ensemble, who carried the show with remarkable energy and precision. The choreography and vocals looked seamless, but you could tell how much skill was behind it all. There’s a palpable joy in watching performers who are genuinely having fun night after night, city after city—and that infectious enthusiasm radiated from the stage.

And finally, praise is certainly due to Amanda Robles as the Lady of the Lake. She wowed me with her powerhouse, belty numbers and embraced the role’s diva-esque humor with confidence and flair. The character comes with built-in satire, but Robles elevated it with undeniable stage presence that refused to be overlooked.

I could definitely sense that this production has been scaled back from the recent Broadway revival, but that didn’t take away from its charm. The stationary castle façade was paired with sleek, modern projections, creating a clever blend of old-school medieval whimsy and contemporary theatrical flair. Longtime Spamalot fans should also note that this version features an updated, more modernized book packed with fresh jokes and current references—something I appreciated.

My favorite production element, hands down, was the costumes designed by Jen Caprio (Broadway: Spamalot, Falsettos, Spelling Bee). From the Lady of the Lake’s sparkling, show-stopping looks to the knights’ medieval attire and the Camelot dancers reminiscent of Vegas showgirls, every piece felt intentional and vibrant. Paired with beautiful lighting that washed the stage in rich color, the overall palette was striking and cohesive. And I have to shout out Josh Rhodes’s (direction and) choreography, which was superb. I love a good tap number, and I love a good kick line—and this show delivers both in spades.

Have I convinced you yet? Go see it!

Monty Python’s Spamalot runs through March 22 and tickets are available here.