Spamalot Digital Study Guide

Study Guide written by Luisa Appolloni, Education Associate- Enrichment Focus, Education Department, Stratford Festival

INTRODUCTION TO THE GUIDE

"We're Knights of the Round Table
We dance whene'er 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"
- Arthur and the Knights (singing "Knights of the Round Table"), Monty Python's Spamalot

The Monty Python comedy troupe began in 1969 with five British writer-performers (Graham Chapman, John Cleese, Eric Idle, Terry Jones and Michael Palin) and an American animator (Terry Gilliam). Their style was irreverent, using inventive absurdity and language in creative ways. Nothing was too sacred for them to ridicule. After overturning the conventions of traditional comedy sketches on BBC television, they then ventured into film. One of their first films was Monty Python and the Holy Grail, a parody of the Arthurian legend that became an international sensation. Fast forward to the 2005 Broadway Tony Award for Best Musical, which was won by Monty Python's Spamalot - a smash-hit stage show adapted from the film script by Eric Idle (book, music and lyrics) and John Du Prez (music). Needless to say, the Pythons' contribution to comedy has been far-reaching. They have influenced many artists - including Mike Myers, Jim Carrey, Seth Meyers, John Oliver and Tina Fey - and such other television shows as Saturday Night Live. By seeing the musical and participating in the activities in this guide, students will explore the various styles of comedy that the Pythons used and discover how their innovations have informed and contributed to comedy today.

Content Advisory

Explores mature themes.
Contains course language, sexual innuendo and the depiction of violence and death.

Curriculum Connections

Grades 7 +

Themes

• Quest
• Bravery vs. cowardice
• Stereotypes: gender, sexual orientation
• Arthurian legend
• Knights of the Round Table and chivalry
• The Lady of the Lake
• Camelot
• Farce, satire, absurdism, spoof, slapstick
• Monty Python's Flying Circus

Three key figures to look for in Monty Python's Spamalot

A Perspective on the Piece from the Director

With Leslie Wade

What excites you about directing this piece?

It's thrilling to work on such hilarious material and to give audiences what they will be expecting with Monty Python but also find new ways to make the material fresh and exciting. I'm also particularly looking forward to working with this incredible cast of performers - really just some of the best, funniest, most talented folks around.

Could you share a little bit about your artistic vision for the production?

Spamalot requires careful navigation. You don't want to impose too much of your own vision on a piece that has a cult following, or you could end up throwing the baby out with the bathwater. That said, there are some areas where we can have fun and put our own stamp on the show, and that includes anything with the Lady of the Lake and the chorus numbers (which didn't appear in the movie and are open for interpretation). I don't want to give too much away, but I can tell you that our women are going to be fearless. We are also trying not to depart too much from where we are in history, so even when we go to Vegas, the question is always, "What would Vegas look like in 932 AD?

How will your production of Spamalot speak to audiences of all ages?

Older people will understand the sophisticated arguments regarding the migration of birds, or proletariat societies, and younger people will find the situational comedy and visual antics of the Knights of the Round Table hilarious. There is something for everyone. And who among us couldn't use a good laugh these days?

Are there aspects of this musical, and of your particular production, that will resonate with things in the world today that we are maybe not seeing or that we need to re-examine?

Monty Python and Eric Idle are very clever satirists. So it probably goes without saying that while the musical seems to be light entertainment, it does poke fun at all manner of things from government to religion to nationalism to societal phobias.

Are there specific production elements or other aspects of the staging of the musical that audiences might find innovative or unusual?

There is a lot of dancing in this production - particularly tap dancing. And I'm also thrilled with our innovative set by David Boechler. It reminds me of the Westminster Abby cloisters and is so versatile that it can also be a number of places and things. Also, I love the use of animation by Cameron Davis that we are going to incorporate in this production. It's Monty Python: you have to have the feet of God somewhere.

What do you hope audience members will feel during the show? What questions do you want them to leave with? Is there anything that you hope young people might be particularly engaged by?

We really want people to laugh. We hope they have a great time. Hopefully, they want to know when they can see the show again and, with luck, we turn young people on to Monty Python. Maybe a few of them will discover the delights of the "Parrot Sketch" and want to share it with their friends the way I did when I was a kid.

PRE-SHOW DISCUSSION QUESTIONS

Ask students:

• What styles of comedy appeals to you? Why?
• What is parody?* Why might this musical be considered a parody?
• What shows today parody current events? What makes them so popular?
• What do you know about the Arthurian legend and the Knights of the Round Table?
• What is chivalry?** What is the code of chivalry? Does a form of this belief still exist today?
• Why might a parody about a legend be appealing to audiences?
• What is a quest?*** What films, TV shows, books, video games, etc. have stories containing quests? Why are they appealing to an audience?
• What qualities do we most admire in a knight? Why? What do we least admire and why?
• The musical is set in the medieval period. How has society changed since the Middle Ages?
• In what ways have understandings of gender and sexual identity changed since the Middle Ages?
• The musical Monty Python's Spamalot is adapted from the 1975 film Monty Python and the Holy Grail. What do you know about the Monty Python comedy troupe and their work? If you've seen the movie, what can you tell us about Monty Python and the Holy Grail? What impact has this troupe had on comedy today?

*Parody: an imitation of the style of a particular writer, artist or genre with deliberate exaggeration for comic effect or ridicule.
**Chivalry: the medieval principles governing knighthood and knightly conduct; the sum of the ideal qualifications of a knight, including courtesy, generosity, fairness, valour and dexterity of arms. Today it is associated with kindness and good manners, especially by men towards women.
***Quest: a long and difficult search for something, sometimes involving an adventurous journey. 

CLASSROOM ACTIVITY: Discovering Different Types of Comedy Styles

2 class periods: approx. 120 minutes

Before seeing the show:
1. Inform the students that this musical uses a variety of different types of comedy.

2. Place the following categories in a small container (see glossary of terms below):

o Dark comedy (also known as black comedy)
o Farce
o Satire
o Absurdism
o Spoof
o Slapstick

Teacher's Glossary
Dark comedy: Also known as dark humour/comedy or gallows humour, this is a style that deals with subjects usually considered too serious, painful or vulgar for other forms of comedy, including death, violence, discrimination, disease and sexuality.

Farce: This genre is marked by buffoonery and horseplay, including crude characterizations and improbable situations.

Satire: Humour, irony and exaggeration are used to expose or criticize people's stupidity, vices or politics.

Absurdism: Comedy that relies on intentionally ridiculous or bizarre behaviours or characters.

Spoof: A humorous imitation in which the characteristic features of another work - typically a film or a particular genre - are exaggerated for comic effect.

Slapstick: An exaggerated form of physical comedy.

3. Divide the class into six groups and have each group draw a category out of the hat.

4. Students will create a poster that best captures the type of humour they have picked. To help them get started, have each group look up the definition and list similar examples of this style from TV, film, videos (e.g., Saturday Night Live, The Simpsons, MadTV, South Park, The Office, Family Guy, The Daily Show, Schitt's Creek, etc.).

5. Once the groups have completed their posters, have them come together and share their findings with the rest of the class.

6. Afterwards, debrief with the class to find out what they have discovered while doing this activity.

Debriefing Questions:

• What makes things funny?
• What style of humour do you find funny? Why
• Why do you think Monty Python's Spamalot uses a variety of comedic styles
• How do you imagine all these styles will be incorporated into Monty Python's Spamalot?

CLASSROOM ACTIVITY: Creating a Duologue

2-3 classes (approx. 120-180 minutes)

"Diva's Lament (Whatever Happened to My Part?)" handout

1. Hand out to each student copies of the lyrics of "Diva's Lament (Whatever Happened to My Part?)."

2. Stand in a circle and read aloud, with each person taking one line.

3. Review all unfamiliar words and phrases, and check for understanding.

4. Read the lyrics together several times while listening to the YouTube recording.

Ask students:
• What is communicated through the lyrics?
• What is the tone (e.g., happy, mournful, energizing etc.) of the piece?
• What comedic elements are in this song? (See previous activity in this study guide to help with the answers.)
• What techniques do Eric Idle (lyrics and music) and John Du Prez (music) use to evoke some sort of response from the audience?
• How do you imagine the piece would be staged?

5. Next, working in pairs, the students will create a duologue (a scene with two people speaking and having a conversation). They will create a short scene (at least one page, typed), noting the following:

a. Students will create a scene in which two students are lamenting* something. They may choose one from the list below or create their own scenario.

i. They are no longer the most popular students in the school.
ii. They did not get the lead part in the school play.
iii. They are no longer the captains of their school's sports teams. (Choose a sport.)
iv. They can no longer influence (i.e., manipulate) their parents/guardians, teachers, other adults in their lives, and fear they have lost their edge.
v. They did not get this year's top award at school.
vi. Create your own scenario.

*Lament (verb) = express deep grief/loss about something or someone; express regret or disappointment over something considered unsatisfactory, unreasonable or unfair.

b. The scene must have:

i. Strong characters.
ii. Who, what, why, when, where.
iii. Clear objectives (what a character wants).

c. Use the following tools to help in the writing process:

i. Start with an idea.
ii. Working collaboratively, use the improvisation "Yes, and…"** technique to help develop the scene.
iii. Refer back to the "Diva's Lament" as a guide to help you structure your lament, while maintaining the humour.

**"Yes, and…"
Student/actor # 1 starts a conversation on a topic or idea. Student/actor # 2 begins next sentence with "Yes, and…" which indicates you are accepting the offering and adding to it. Every other sentence has to begin with "Yes, and…."

6. After a sufficient time to write and rehearse their scenes, have the groups come together and perform their duologues for the class.

7. Afterward, discuss with the whole class what they discovered while doing this activity.

Debriefing Questions:
• What surprised you the most while doing this activity?
• What do we learn about the characters who lament about their feelings? What makes this appealing to audiences?
• How does our society foster the idea that being at "the top" of something is the most important goal? What are the positive aspects of this belief and what are the negative ones?

POST-SHOW DISCUSSION QUESTIONS

Ask students:

• Which character did you most admire in the musical? Why? What was it about the character that made such an impact on you?
• Which character did you least admire? Why? What was it about the character that made such an impact on you?
• What obstacles did the knights have to overcome?
• What is the significance of the rabbit?
• How do the music and lyrics contribute to the meaning of the musical?
• What were the key themes that stood out for you in this musical? What do you think is the musical's central message? What do you think the director is trying to say?
• Does this musical resonate with today's gender roles and gender/sexual identity issues, power, and politics? What are the similarities and differences?
• How did the sets, costumes, lighting and sound contribute to the mood the creative team (director, designers, technical experts etc.) was trying to establish?
• Discuss the abilities a person must have in order to become an actor, a dancer, a singer, a musician, a director, a choreographer, a designer, a stage manager or a technical expert. What type of training must they have to excel in their field?

CLASSROOM ACTIVITY: Parodying The Hero's Journey

2-3 classes (approx. 120-180 minutes)

Hero's Journey handout

This activity is best done after seeing a performance of Monty Python's Spamalot at the Stratford Festival, as the students will then have context of what a hero's journey and parody are all about.
1. Hand out copies of the "Hero's Journey" to the students. Inform them that this 12-step structure is taken from Christopher Vogler's* work.

*Christopher Vogler is a Hollywood development executive, screenwriter, educator and author who wrote in 2007 a screenwriting guide, The Writer's Journey: Mythic Structures for Writers. He was inspired by Joseph Campbell's The Hero with a Thousand Faces, written in 1949. In that work, Campbell details 17 steps of a hero's journey in classical mythology. Vogler, who has worked with Disney (e.g., on The Lion King), condensed this to 12 steps for a more practical, contemporary approach.

2. Discuss the following with the whole class:

a. What stories, television shows, movies, books or video games use this type of 12-step format?

b. What makes these hero/heroine journeys so appealing to an audience?

c. Are there people today in our schools, community, country or world whom you would consider a hero/heroine? What qualities do they possess to be considered a hero/heroine?

3. Now write on the board the following:

Parody: an imitation of the style of a particular writer, artist or genre, with deliberate exaggeration for comic effect or ridicule.

4. Discuss the following:

a. Name some stories, television shows, movies, books or video games that use parody.

b. Why do you think audiences find parody entertaining?

c. The musical Monty Python's Spamalot is adapted from the 1975 film Monty Python and the Holy Grail, an irreverent spoof of the Arthurian legend and the Knights of the Round Table. Name some aspects of the show you just saw at the Stratford Festival that was deliberately making fun of that legend.

d. Study the handout of the hero's 12-step journey. How did the Monty Python creators turn the heroic journey upside down? Give some examples.

5. Next, divide the class into 4 to 5 groups.

a. Each group will create a short scene (approx. 5-7 minutes in length) based on a well-known fairy tale, novel, television show or movie.

b. The scene will be a parody using just one of the 12 steps of the hero/heroine's journey. In other words, they are not telling the whole story of the hero/heroine's journey; they are only choosing to highlight and parody one segment.

(Note: Best to choose a genre or storyline that most audiences are familiar with rather than an obscure one with limited audience appeal.)

c. Keep in mind that parody uses humour to criticize and question plots, characters and serious issues without being spiteful or harmful.

6. After a sufficient period of writing, and time to rehearse their script, have the groups come together and perform their scenes for one another.

7. Afterward, discuss with the whole class what they discovered while doing this activity.

Debriefing Questions:
• What strategies did you use to create your parody?
• What are the advantages and disadvantages of using parody?
• What elements of the creative process did you find most rewarding? What did you find challenging and what would you do the next time to improve upon it?

Please share your letters with the Stratford Festival! We would love to hear from you.

Attn: Education Department

Re: Monty Python's Spamalot

PO Box 520

Stratford, ON N5A 6V2

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SOURCES & RESOURCES

SELECTED BIBLIOGRAPHY FOR MONTY PYTHON'S SPAMALOT  STUDY GUIDE

BOOKS

Chapman, Graham; Palin, Michael; Cleese, John; Gilliam, Terry; Idle, Eric; and Jones, Terry. The Pythons: Autobiography by The Pythons. St. Martin's Griffin, 2005.
Idle, Eric. Always Look on the Bright Side of Life: A Sortabiography. Crown Archetype, 2018.
Morgan, David. Monty Python Speaks! The Complete Oral History. Avon Books Inc. 1999.

WEB RESOURCES

"Monty Python's Official Website," http://www.montypython.com/

MONTY PYTHON'S SPAMALOT  ON FILM, VIDEO and DVD

1969-1974 (UK TV)), Monty Python's Flying Circus. Directed by Ian McNaughton (46 episodes, 1969-1972) and John Howard Davies (5 episodes, 1969); starring Graham Chapman, Eric Idle, Terry Jones, Michael Pain, Terry Gilliam and John Cleese.

1975 (UK Film), Monty Python and the Holy Grail. Directed by Terry Gilliam and Terry Jones; starring Graham Chapman, Eric Idle, Terry Jones, Michael Pain, Terry Gilliam and John Cleese.

2006 (UK Documentary TV) Monty Python's Spamalot (The South Bank Show). Starring Melvyn Bragg, John Cleese, Tim Curry, Eric Idle, Terry Jones and Michael Palin.

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