There are some shows where you spend your time analysing every directorial choice, every dramatic beat and every performance. Then there are shows like Spamalot, where after about ten minutes you simply surrender to the sheer joy of it all.
Happy Sad Productions’ latest musical is exactly that kind of evening.
Based on the classic Monty Python and the Holy Grail, the musical lovingly embraces absurdity, gleefully mocking both the original film and the conventions of musical theatre itself. It’s a show that positively encourages performers to throw caution to the wind, and this company responds with infectious enthusiasm.
One of the production’s greatest strengths is its scale. A large ensemble fills the stage with energy throughout, ensuring that even the smallest roles have moments to shine. There is a genuine sense that everyone involved is enjoying themselves, and that feeling quickly spreads into the audience.
The evening is further elevated by an outstanding 17 piece orchestra under the musical direction of Josh Wood. The score bursts from the pit with warmth, colour and confidence, reminding us just how good this musical really is. Few amateur productions can boast an orchestra of this quality, and it gives the entire show an impressive sense of occasion.
Stephen Donaldson anchors the production well as King Arthur. Playing the straight man amidst complete comic chaos is no easy task, but Donaldson understands precisely how much restraint the role requires. His vocal performance is equally assured, particularly in the wonderfully ridiculous “I’m All Alone”, where Arthur laments his solitude while steadfastly ignoring Patsy, standing only a few feet away. It is one of the evening’s comic highlights.
Justyne Snyder is equally impressive as the Lady of the Lake, possessing both the vocal power and comic timing the role demands. Her second act number, lamenting the lack of material she’s been given to sing after the interval, perfectly captures the show’s gleeful willingness to break theatrical convention.
Among the supporting cast, Callum Philp delivers one of the funniest performances of the evening. Whether appearing as Tim the Enchanter or later as Herbert’s overbearing father, Philp combines broad physical comedy with impeccable comic timing. His wonderfully escalating confrontation with the guards has all the manic energy of Basil Fawlty at full throttle and proves one of the show’s standout sequences.
The choreography deserves considerable praise. The dance numbers are energetic, well drilled and consistently entertaining. From the moment the Laker Girls first burst onto the stage, smiling, high kicking and full of confidence, the production rarely loses momentum. Nina Birbeck, in particular, possesses genuine star quality, effortlessly drawing the eye whenever she appears.
If there is one significant disappointment, it lies with the sound reinforcement. Several performers battled unreliable microphones throughout the evening, most notably Arlo Bayne as Sir Robin, whose performance was repeatedly undermined by technical failures. Amateur theatre deserves understanding when resources are limited, but sound is one area where audiences need to hear every lyric and every joke. On this occasion, the production deserved better technical support than it received.
That frustration is all the greater because so much else works exceptionally well. The direction by Amber Docherty maintains an infectious pace, the cast commits wholeheartedly to the Python madness, and the orchestra consistently lifts every scene.
Ultimately, Spamalot remains one of musical theatre’s great celebrations of silliness, and Happy Sad Productions embraces that spirit wholeheartedly. Packed with memorable songs, inventive choreography and a company clearly having the time of their lives, this is an enormously entertaining evening that sends audiences home smiling.
If the technical issues can be ironed out, Happy Sad Productions will have an exceptionally strong musical company on its hands. On the evidence of this production, they’re certainly one to watch
Reviewer: Greg Holstead
Reviewed: 10th July 2026
North West End UK Rating:
Running time – 2hrs 15mins (with interval)