Spamalot, described as “lovingly ripped-off” from Monty Python's Holy Grail, is a delightfully brash mix between adult humour and a school pantomime.

The touring version of the big Broadway musical has been cut back into a snappy 1hr 55min production, and the 12-member cast use every second of this to its fullest.

Telling the tale of King Arthur and the Knights of the Round Table with a bevy of beautiful showgirls, cows, killer rabbits, French people, and a fair bit of glitter, Spamalot is a whirlwind of tongue-in-cheek comedy, music and dance.

A nice touch is the up-to-date cultural references, with gags featuring Cheryl Cole and Susan Boyle, giving this latest tour a uniqueness and modernity.

Bonnie Langford is dazzling (literally; I’ve never seen so many sparkles on a dress) as the diva-esque Lady Of The Lake, belting out some show-stopping tunes.

Langford’s amazing vocals and stage presence keeps all eyes on her whenever she is not “spending too long offstage”, and her comedic timing keeps the audience in stitches.

However, despite Langford’s character’s frequent attempts to steal the limelight, it is Kit Orton’s Sir Lancelot who is the show-stealer in an already excellent ensemble, with the rendition of His Name Is Lancelot being a high point of the production.

Rob Delaney as Sir Robin also provides many of the musical’s riotously funny moments, particularly in the song Brave Sir Robin, and is reflective of the talent and comedic timing of all four of King Arthur’s knights.

The set is bright and colourful, somewhat reminiscent of school productions, but the performance has no trace of the amateur about it, being completely slick and unfaltering.

The choreography is impressive and adds much to the excitement and good humour of the show, while the physicality of the performers is engaging and always well-timed.

However, no matter the professionalism of the well-oiled performance, the show itself may not be to everyone’s taste, with some jokes becoming slightly forced, coming down strongly on the side of slapstick rather than wit.

Nonetheless, the show clearly ran to the tastes of York, with the production ending to thunderous applause.

It seems that whether a fan of Spamalot’s unsubtle brand of humour or not, it cannot be denied that the show is bursting with energy, filled with pizazz, frivolity, and the brighter side of life.

Review by Emma Cooke