I had the privilege of watching the original West End run of Spamalot over 20 years ago, starring Tim Curry and Hannah Waddingham. This was after I’d become obsessed with the original Broadway cast recording, which for many years was a loyal travelling companion. I have many happy memories of coasting down the A55, singing “I Am Not Dead Yet” at full belt. So, it’s safe to say I was very excited to come to Hyde Festival Theatre with my son, Sam, to watch this production by Hyde Musical Society.
For those who haven’t seen the show—or the film from which it is “lovingly ripped off”—I’m not quite sure how best to describe it, other than as a loose retelling of King Arthur and the Knights of the Round Table’s search for the Holy Grail, filtered through the comedic lens of Monty Python and reimagined as a musical by Python member Eric Idle and collaborator John Du Prez. The quality of the writing is exceptional. The book is crammed with gags from start to finish and combined with a plethora of expertly crafted production numbers, it’s easy to see what made the show such a smash hit.
Director Richard Parker has done a bang-up job of wringing every laugh from the script. I also have to applaud the hugely innovative staging within the constraints of the venue. While Hyde Festival Theatre is a little gem, there are undoubtedly challenges in mounting such a lavish musical in a compact space. However, rather than feeling limiting, it actually felt liberating. The production had a wonderful handmade quality that evoked the original film far more honestly than a bigger, brassier version might have—a true case of necessity being the mother of invention.
Choreography by Jenny Arundale was ambitious, featuring showgirl routines, full tap numbers and an all-out disco in Act 2. Music was provided by Ceri Graves, with the live band secreted above the stage in the bar area. For some reason, this distance created a slight disconnect between the onstage action and the accompaniment. Cues occasionally felt tentative and, at times, this impacted timing for both dancers and singers. This may have been compounded by sound issues that seemed to restrict microphone levels. Hopefully, these were just opening-night gremlins that can be ironed out as the run continues.
Costumes by Brenda Starkey and Kathryn Shenton were effective and cleverly engineered for the many quick changes required. Special mention must go to the Knights Who Say “Ni!” and the appendage-challenged Black Knight. The Lady of the Lake looked suitably glamorous, with a succession of fabulous frocks marking each entrance. Props and effects were equally well crafted and perfectly in keeping with the show’s aesthetic, with the grand lapin de bois (a.k.a. large wooden rabbit) and the Holy Hand Grenade of Antioch proving particularly memorable.
But the absolute triumph of this production was the talent on stage. It was a joy to see such top-quality material matched by equally strong performances. Timing, diction and characterisation were all on point. John Harrison’s King Arthur was spellbinding, played with such idiosyncratic élan that you couldn’t take your eyes off him—think Graham Chapman with a hint of Catherine O’Hara’s Moira Rose and you’re somewhere close. Joyful. Tom Kershaw-Green was hilarious as the butch Lancelot, while also shining as the French guard, the Knight of Ni and Tim the Enchanter. Jake Ridgeway gave a sympathetic turn as downtrodden squire Patsy and (if I’m not mistaken) bears more than a passing resemblance to ex-Python, Terry Jones. Tom Williams was suitably useless and incontinent (not a typo) as “brave” Sir Robin, bringing real showbiz razzmatazz to his Act 2 number. Michael Baines deftly flipped between socialist filth farmer Dennis and the dashing Sir Galahad, among other roles. Keith Thompson handled Sir Bedevere with assurance and was marvellously grotesque as Mrs Galahad. Finally, Leonie Picariello stunned as the Lady of the Lake, delivering pitch-perfect vocals with razor-sharp precision. Honourable mentions must also go to Andrew Grogan, a hoot as Prince Herbert, and Dan Fielden, who had me in absolute pleats as Herbert’s guard. Truly hysterical.
Overall, despite some syncing issues, this was a glorious production of a tremendously enjoyable show that isn’t performed often enough. The principals were tight, bright and full of showbiz sparkle. I beamed from ear to ear throughout and, with tickets priced under twenty quid, you can’t ask for more than that. Grab your shrubbery and get yourself down there before it’s gone.
Spamalot runs until Saturday 25th April 2026 at Hyde Festival Theatre (7.30pm nightly with matinee performance at 2.30pm on Saturday). Tickets are available via https://www.hydefestivaltheatre.co.uk/whats-on
Reviewer: Dan Grimes
Reviewed: 22nd April 2026
North West End UK Rating: