If you haven’t been to the Lucille Ball Little Theatre of Jamestown in recent years, as I admit I have not, I encourage you to make your way down to their handsome theatre and catch the Tony Award winning musical “Spamalot.”

The musical was written by Eric Idle and John Du Prez. “Spamalot” is based on the 1975 cult, British comedy classic, “Monty Python and the Holy Grail” I can’t say I am a member of that cult, but you don’t need to be to have a great time at “Spamalot”.

“Spamalot” is based, loosely, on the Legend of King Arthur and his quest to find the Holy Grail. Lucky for us, it takes him a couple of hours to do that, because we are along for the journey — and it’s a lot of good goofy giddiness.

It’s all led by Jim Foley, as a perfectly cast King Arthur. Mr. Foley sets the comedic tone for the rest of the cast, and the fellow cast members who follow him into his zany world fare well. Mr. Foley sings the role effortlessly with a strong. confident baritone. It’s a fine performance by Mr. Foley. Arthur’s servant/horse Patsy, is played by Andrew Garvey in a consistently effective and understated performance. Lancelot, played by Scott Constantini, handles the comedy with deftness and fearlessness, Adrienne Reuss, who plays the Enchantress Lady of the Lake, gives a barn buster of a performance. Her numbers were certainly among the musical highlights of the evening. She has a strong, big belt that she knows how to use. I enjoyed her performance very much.

The chorus, and the actors playing multiple parts did a great job. Caleb Foley and Jon Thompson each got my attention and made me laugh when they were onstage … proving there are no small parts. Clearly this is a show the cast enjoys performing, and that makes it easy for us to share their joy. There is a gaggle of knights, who each made me laugh and each had their moment to shine. There are a whole bunch of dancing girls running around the stage at any given moment. There’s a cart of dead bodies singing show tunes. There’s a scene where a knight has his arms and legs chopped off and continues to fight.

You get the idea.

“Spamalot” is written in short comedic episodes. Adams Owens, who did a terrific job directing the mayhem (and doubled as musical director) could have made each episode a little more specific to help my addled aging brain keep track of all the madness. Kudos to Rene Schaer, who’s appropriately silly, energetic choreography keeps things moving along. Equally good were the numerous costumes. Creative and well done, no doubt on a shoestring, by Jen Hanlon and Tara Chase.

The show had no live music. The actors sang to a recorded track. I understand the need for this, and it worked great here, although there were times when the balance was off and moments when everyone was not exactly together. I fear recorded music may replace live musicians in theatres. For the record, I am pretty sure I don’t like that idea. I started this review by saying I haven’t been to Little Theatre in a while. I am so glad I was able to see “Spamalot.” There is a new energy at the theatre. A new generation has taken it over. They are producing wonderful new, daring shows. We all heard some naughty words on stage, saw some provocative moments and none of us perished from the experience. We laughed together because it was funny. Theatre is a shared experience. Theatre is vital to any community. I enjoyed “Spamalot” and I encourage you to buy a ticket and see this show. Experience the Lucille Ball Little Theatre. Experience live theatre.

“Spamalot” is a silly show with a big heart. It reminds us, in typical English fashion to keep a stiff upper lip, and always look on the bright side of life. “Spamalot” runs July 21 and 22 at 7:30 p.m., July 23 at 2 p.m. and Aug. 5 at noon.