- One ticket to Spamalot
- When: June 19 through August 3
- Where: Lower Ossington Theatre
- Door time: one hour before showtime
- Ticket values include all fees.
- $30 for reserved seating (first two elevated rows, A or B) (up to $49.99 value)
- $36 for premium seating (floor, rows C–F) (up to $59.99 value)
- Click here to view the seating chart.
“Lovingly ripped off” from the 1975 comedy milestone Monty Python and the Holy Grail, Spamalot spins the fractured fairy tale of King Arthur and his knights of the Round Table’s absurdist quest to claim the most hallowed chalice of medieval times. Before their joke-strewn journey concludes, the knights must first overcome a slew of silly obstacles, including cows, the sirens of Castle Anthrax, other knights who say “Ni!,” and one bloodthirsty rabbit. Amid clever one-liners and flashy costumes, whimsical songs send feet and coconuts a-tapping, from familiar Python movie tunes such as “Knights of the Round Table” and “Always Look on the Bright Side of Life” to melodies specific to the musical, including “The Song That Goes Like This.”
With a book by Monty Python’s own Eric Idle, a jaunty score by John Du Prez (who also scored The Meaning of Life), and direction by Hollywood and comedy legend Mike Nichols, Spamalot snagged the Tony Award for Best Musical on its 2005 debut. Now the widely lauded production, hailed as “a no-holds-barred smash hit” by the New Yorker, continues its conquest, delighting audiences with such off-kilter lyrics as, “We’re knights of the round table/We dance when e’re we’re able/ We do routines and chorus scenes/With footwork impeccable/ We dine well here in Camelot/We eat ham and jam and spam a lot.”
Lower Ossington Theatre
When Brittany Goldfield Rodrigues of Broadway World paid a visit to Lower Ossington Theatre’s production of RENT, she was struck by many things—the dynamite performances and powerhouse vocals, the costumes, the deceptively simple staging—but the space itself might have taken the cake. An intimate venue can make an experience immersive, and Lower Ossington Theatre’s three performance spaces possess that quality in spades. Goldfield Rodrigues noted how instead of a stage, the theatre kept audiences and performers on the same plane—the show in an open space at the front with individual chairs facing it—helping viewers feel as though they were in the same world as the characters and dispelling the worry that the performers might be invading giants.