NEW YORK – The splashy Broadway comedy is not dead yet.  

Monty Python’s outlandishly silly humor is alive and well at the St. James Theatre, where a laugh-a-minute revival of “Spamalot” is currently reigning over 44^th Street. The Tony-winning best musical, which first galloped to Broadway in 2005, is adapted from the 1975 British cult classic “Monty Python and the Holy Grail,” an offbeat parody of the King Arthur legend.

This new production, directed by Josh Rhodes, closely resembles Mike Nichols’ original, with its vibrant medieval costumes and lofty sets evoking Camelot by way of Las Vegas. Famous Python bits involving French taunters, a killer bunny and the Knights Who Say “Ni” are still blessedly intact. But many of the other jokes throughout the show have been updated for modern audiences.

'Monty Python's Spamalot' gets a refresh with TikTok, Ozempic jokes

Old references to Michael Moore and Britney Spears have now been tweaked to include TikTok and Lea Michele. One unhappy diva, the Lady of the Lake (Leslie Rodriguez Kritzer), cracks jokes about weight-loss drug Ozempic, while queer theatergoers might recognize a familiar Grindr ping during a fabulous coming-out number for Sir Lancelot (Alex Brightman).

For Rhodes, the challenge was how to tailor-fit this material for a new cast, after the star-studded original “Spamalot” with Tim Curry, Hank Azaria, David Hyde Pierce, and then-newcomer Sara Ramirez. This fresh iteration features Tony winner James Monroe Iglehart, scene-stealers Christopher Fitzgerald and Ethan Slater, and “Mean Girls” actor Jonathan Bennett, who starts performances Jan. 23.

“Even though this show was built 20 years ago on other people, how do I make it feel like theirs?” Rhodes says. “With the Python stuff, we know what that is and what we want to honor. The book is written so beautifully by Eric Idle, and the movie gives us such a track."

The key was to foster a collaborative environment in the rehearsal room, where the cast and creative team were encouraged to pitch new jokes. Costume designer Jen Caprio dreamed up the show’s hilarious homage to Eva Colas, a former Miss Universe contestant who went viral for screeching “France!” Similarly, it was associate director Deidre Goodwin and associate choreographer Charlie Sutton who had the idea to recreate Sasha Velour’s iconic “RuPaul’s Drag Race” finale lip sync.

“We throw lots of spaghetti at the wall and see what sticks,” Rhodes says. “You want to create an atmosphere of ‘yes, and,’ so everybody is throwing out ideas. When someone says Sasha Velour, you’re just like, ‘Yeah, we’re for sure doing that.’”

Idle, an original member of the Python comedy troupe, also orchestrated an offstage cameo from Steve Martin, who voices God in the new production. Rhodes previously worked with Martin on Broadway musical “Bright Star,” which helped create a sense of ease as they recorded his dialogue.

“A couple of those (lines) are ad libs from Steve,” Rhodes says. “If you hire Steve Martin, you want his thumbprint on it. That’s what makes him so brilliant.”

Broadway musical calls out George Santos while celebrating Jewish culture

A routine crowd favorite is Act 2 showstopper “You Won’t Succeed on Broadway,” a tongue-in-cheek ode to why there “simply be must Jews” in order to make a hit musical. For many audience members, the song takes on emotional new shades in light of current events. Rhodes remembers one night back in early October, when theatergoers erupted in applause multiple times.

“People started whistling and screaming and howling,” Rhodes recalls. “It’s wonderful that shows can give people an outlet for things they need to express. Our industry would be nowhere without Jewish culture, and that’s what the number is really about.”

At one point during the song, names of legendary Jewish entertainers flash across a giant screen, including Barbra Streisand, Stephen Sondheim and Bette Midler. The show also jokingly lists George Santos, the disgraced Republican congressman who memorably claimed Jewish ancestry.

The Santos line was added during the production’s pre-Broadway run in Washington D.C. early last year. “It was right around the first time we knew publicly he was nuts,” Rhodes says. He wondered if the bit would still work on Broadway, and then in November, "George came out with another interview doubling down” on being Jewish.

“I was like, ‘What is this mad person thinking?’ But also, ‘Thanks, George. We just kept the joke.’”