Performances of the irreverent musical “Monty Python’s Spamalot” will continue at the Ellen Eccles Theatre in downtown Logan through Aug. 21.

LOGAN – The ongoing Cache Theatre Company production of “Monty Python’s Spamalot” is a deeply silly show, but it’s practically impossible not to love it.

The musical parody of Arthurian legends was penned by the zany Eric Idle as a vehicle to recapture all the manic insanity of the 1970s BBC-TV series “Monty Python’s Flying Circus” and the local CTC cast achieves that goal by committing to the show’s dementia wholeheartedly.

In “Spamalot,” anything goes. The plot doesn’t just twist, it corkscrews – repeatedly.

Many of the gags from the classic 1975 movie “Monty Python and the Holy Grail” are here – the Knights Who Say Ni, Tim the Enchanter, the killer rabbit and more.

But the show also features rapid-fire pacing, witty lyrics, flashy production numbers, a hint of bathroom humor and some topical, politically incorrect jibes.

But there’s little time to be offended. The audience just sits back and laughs helplessly.

It’s a feel-good riot.

CTC veteran Landon Weeks leads the cast as the stalwart but scatter-brained King Arthur of the Britons, whose well-intended quests can be depended upon to go hilariously astray every time.

When it comes to recruiting knights for this Round Table, Weeks unfortunately finds himself in a “beggars can’t be choosers” situation. So he ends up with the cowardly Sir Robin (played by Cameron Neeley); the homicidal but sexually ambiguous Sir Lancelot (Ben Anderson); the fragrant Sir Bedevere (Benjamine Harrison); and the argumentative Sir Galahad (Chris Metz).

Zachary Brown rounds out the king’s vaguely loyal troops as Patsy, Arthur’s often-ignored sidekick who has a deep, dark secret.

As the Lady of the Lake, the lovely Catherine Paul gets all the show’s good songs and she sells them like a luscious Broadway diva.

There are minor parts in “Spamalot” but no small actors.

Case in point is Brad Rasmussen, who mugs amusingly and shamelessly in the varied character roles of Not Dead Yet Fred, the hapless Historian and Prince Herbert, a gender-bending stand-in for the obligatory damsel in distress.

Two choral ensembles play equally vital roles.

The first of those groups is the sexy Laker Girls, who break into high-energy but illogical dance routines at the drop of a hat.

The other is a mostly male ensemble who portray minstrels, plague victims, lewd French soldiers and disco chorus boys.

Good as “Spamalot” is, the production is not without a few awkward moments. There are occasions when the French and British accents are so thick that the dialogue is nearly incomprehensible and the stylish choreography goes off the rails from time to time.

Despite those minor gaffs, this show is a breath of fresh air compared to traditional musical comedy fare seen locally.

Evening performances of “Spamalot” will continue on Aug. 14, 16, 19, 20 and 21.

Matinee performances of the show will also be staged Aug. 14 and 21.

The performance of “Spamalot” on Thursday, Aug. 19 will feature American Sign Language interpretation.


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