I was pleased to see Monty Python's Spamalot clean up on Tony nominations.
As musicals go it's got the lot: King Arthur, knights of the round table, knights who say "Ni", an armour-clad chorus of tap dancers, and killer rabbits.
Now Spamalot, the musical based on the 1975 classic Monty Python and the Holy Grail, has 14 Tony award nominations.
The hit musical which pokes fun at medieval Britain led the hopefuls for Broadway's top honour after it wowed critics and audiences in the US. Since opening at the Shubert Theatre on Broadway on March 17 it has smashed box office records for a Broadway theatre.
Long time readers of the Iconic Midwest will remember I got a chance to see Spamalot in January while it was in previews in Chicago. (See my review here.) I found it terribly entertaining, especially for a Monty Python fan such as I am. It is nice to see that the material has found an even wider audience.
This being said I'm under no illusion about the relative artistic merit of the work. Broadway, like Hollywood or the music industry, loves to reward big box office successes. But I cannot bring myself to really begrudge Spamalot. When it is all said and done it is damn funny, and that is a difficult enough thing to do.
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