Monty Python's Spamalot

The most absurd, ridiculous, joyful night of musical theatre going - One Eyed Man's production of Monty Python’s Spamalot has no right being such a damn good evening.

This 2005 musical (lovingly) ripped off from the 1975 feature film Monty Python And The Holy Grail, breathes an unexpected amount fresh air into the classic British comedy canon.

You'd be hard pressed to have made it far in life without someone very enthusiastically making sure you've seen at least one of the Monty Python classics, Whether that was your daggy white dad, nerdy high school friends or some stoners from uni (or some combination of the three). This production is one you can enjoy with any of them (expect maybe the guy who mansplained the ramifications of Life Of Brian to you).

This musical does a wonderful job of paying tribute to what is so great about the originals, while updating elements to ensure the Python sensibility doesn't skate by on nostalgia alone – even if the book and premise does reek a little of a cynical cash-grab. ‘Modern’ Python theatre treats us to wonderful things like over-the-top gay characters that are reframed to be punched down on less, self-aware musical numbers that riff on theatrical tropes, and, in the case of this production, a gender- and race-blind cast without a weak link among them. It's a heartwarmingly brilliant night of theatrical silliness that will have you laughing all the way through.

Cramer Cain carries the lead with all the gravitas and comedic timing the role demands – and additionally, there is something delicious about a man of colour proclaiming “I am Arthur, King of the Britons!”

Josie Lane absolutely milks the Lady Of The Lake role, Marty Alix is a show-stealing Sir Robin and the whole talented lot playing the of Knights Of The Round Table (Blake Appelqvist, Rob Johnson, Aaron Tsindos and Jane Watt) and squire/horse Patsy (Bishanyia Vincent) are all clearly having a ball with it. The joy is infectious and this show has only the most wholesome of audience interaction.

The chaotic energy that made the company's production of Calamity Jane such a roaring success is seen again here in a sense, in another show directed by Richard Carroll. The material may have less substance for the creative team to sink their teeth into, but the joy of it is so unrelenting you can't be mad. It's almost as if Eric Idle always intended for this script to be played in a small theatre.

Spamalot is scrappy, minimalist and packed with surprises. The quotable moments from the film are delivered so superbly and earnestly it rarely feels like a dry callback.

This production breathes an unexpected amount fresh air into the Monty Python canon. Escapism at it's finest – go see it.