absolutely delightful, and it’s absolutely absurd, and it’s joyful to meet these characters for the first time.” That includes the Black Knight, whose blindly optimistic brand of mortal combat requires no prior introduction. “‘It’s just a flesh wound’ and all those things are hilarious,” said Rhodes, “even if you didn’t grow up saying it to your friends while you’re fighting on the playground.” From a directorial standpoint, that nonstop hilarity is also Spamalot’s greatest challenge. “Comedy is a physical sport for an audience,” said Rhodes. “And as funny as this show is — and the jokes just keep delivering — sometimes you can err on delivering too many. ’Cause the audience gets tired; they need a break.” In order to give audience members a chance to catch their breath, Rhodes relies on what he calls “closing the fence.” When the metaphorical fence is open, actors are free to engage with the audience more directly, to “walk that tightrope of improv” in a way that makes each performance a unique event. But part of Rhodes’ job, he explained, is to decide when the fence needs to swing back shut: “At this point you gotta move on, or we will wear [the audience] out for when we really need them.” While Spamalot is, in its own words, “lovingly ripped off” from Monty Python and the Holy Grail, Rhodes maintains that the transition from screen to stage has left Python’s satirical wit just as sharp as ever. “What they did with the musical,” said Rhodes, “is they firmly said — in the same way that they say, ‘We love [King] Arthur, but we’re going to make fun of him’ — we love musicals, but we’re also gonna make fun of them.” The delight the show takes in poking fun at musical theater is on full display in numbers like “The Song That Goes Like This,” “You Won’t Succeed on Broadway,” and “Diva’s Lament,” all of which showcase the creators’ deep appreciation of the art form. “I think in order to make fun of something you have to really have a love for what it wants to be,” said Rhodes.
The material [from Monty Python] stands as is. It’s still absolutely delightful, and it’s absolutely absurd, and it’s joyful to meet these characters for the first time. — JOSH RHODES, DIRECTOR/CHOREOGRAPHER
NEXT UP FROM BROADWAY
THE OUTSIDERS Adapted from S.E. Hinton’s enduring novel, The Outsiders arrives from Broadway (Sep 8-27) with a fresh perspective on a story that has resonated for generations. Set in Tulsa in 1967, this musical explores the fragile divide between two groups of teenagers — the working-class Greasers and the more privileged Socs — through the eyes of Ponyboy Curtis, a thoughtful young man trying to make sense of loyalty, loss, and identity. This coming-of-age story is brought to life with a mix of music, movement, and staging that highlights the characters’ emotional journeys. Songs reveal the dreams of the “outsiders” who struggle to be accepted, while the physicality of the ensemble underscores the tension and energy of their world. Rather than focusing solely on conflict, the musical gives space to quieter moments of connection, showing how friendship and understanding can emerge in unexpected ways. Audiences familiar with the novel will find new dimensions in its theatrical retelling, while newcomers are introduced to a story that still feels strikingly current. The Outsiders invites reflection on belonging, resilience, and the quiet choices that shape who we become — offering a reminder that, even in divided communities, understanding can begin with simply seeing one another clearly.
Between the show’s good-natured mockery of King Arthur’s court and its elevation of politically minded peasants, Rhodes also sees a certain democratic optimism running throughout Spamalot. “They’re very democratic,” he said of the Pythons. “I think the reason they drill away at making fun of our political leaders is that they believe in the masses.” Laughter, tap dance, democracy — if it sounds too good to be true, that’s because it is. For like an invading army hidden inside a Trojan Rabbit, there is still one shocking secret to be revealed: Josh Rhodes, director of Spamalot, has never tried the titular canned meat product. “People give it to me all the time,” he lamented. “I’m now Mr. Spam, so people think I want it. And I’m like, ‘I love Spam, but I don’t really want to eat it.’”
MONTY PYTHON’S SPAMALOT AUG 11–23 • BUELL THEATRE
ASL Interpreted, Audio Described & Open Captioned performance: Aug 23 at 1pm The Outsiders North American Tour Company. Photo by Matthew Murphy.