You don't have to be one of those obsessive fans of the movie "Monty Python and the Holy Grail" (on which this show was based) to enjoy it. In fact, you needn't have even seen the movie to have a great time at what I consider to be one of the best shows and best values in all of Las Vegas right now.

For the uninitiated, this Tony-Award winning musical essentially retells the story of King Arthur and the Knights of the Round Table in their quest to find the Holy Grail as an absurdist fairly tale. It begins with the King traveling the land with servant Patsy providing horse-galloping noises with a pair of coconuts and trying to convince people that he really is the King so they'll join in the quest. We meet the timid Sir Robin, the vain, possibly gay Sir Lancelot, the vaguely psychotic Sir Gallahad, and briefly, Sir Not-Appearing-in-this-Show as they join forces with the King, get a message from God (voiced by Python vet John Cleese), and are inspired by the Lady of the Lake (and her Laker Girls) to track down the Grail.

Along the way they encounter most everything you remember from the movie - the flying cows, the killer beast that guards the cave (don't want to ruin it for those who haven't seen it), the Black Knight (No, it isn't!), the taunting French guards (your father smells of elderberries), the puns, the jokes, the pratfalls, and the almost surreal humor all set to an eminently hummable score.

The show is at its best when it is poking fun at its own genre, with songs like "The Songs That Goes Like This" perfectly skewering overly bombastic Broadway ballads and "You Won't Succeed on Broadway" insisting that without a Jewish person on board, they don't stand a chance.

How they get from the Holy Grail to a quest for Broadway really only makes sense if you see the show, but that particular song inspires two of my favorite moments in the show - the out of nowhere Hava Nagila style "Hey" as someone is wheeling a wagon full of hay across the stage and the surprise heritage of one of the primary characters who, when questioned why he never told anyone he was Jewish, replies "It's just not the kind of thing you say to a heavily armed Christian."

That's the kind of show this is - irreverent, silly, laugh-out-loud funny, and surprisingly good natured. It's the kind of show that you walk out of feeling good about how you just spent the last hour and a half of your life.

This version of the show has been shortened down to about 90 minutes, as they do with most Broadway-to-Strip transplants, but it doesn't feel like it has lost anything in the translation. Those who know and love the Great White Way full version may want to argue the point but for most people the sleeker version is fine and the Vegas specific material (thing Excalibur as Camelot) is a hoot.

"Seinfeld" and "Dancing with the Stars" vet John O'Hurley is currently the only "name" in the cast but this is a show that depends less on who is playing the roles than the writing of the roles themselves. In fact, recognizable faces may actually get in the way so just because you don't see a big star on the marquee don't let that discourage you from seeing it.

And with the prices as reasonable as they are, your investment is minimal and return is high. You can get perfectly decent seats for as low as $49 with the top tier at only $99. That's anywhere from $50-$100 less than you'll pay for most of the other big shows in town and this is, in many ways, better than a lot of them.

Wynn Las Vegas currently has an option to keep this show running as a West Coast exclusive for years and I'm hoping they manage to break the Broadway curse that has seen equally good shows close after short runs. Spamalot is a show that deserves a long stay on The Strip.