For a certain segment of the population, the absurdist humor of Monty Python has never ceased to elicit titters and full-bellied laughs. And Eric Idle's musical adaptation of Monty Python and the Holy Grail, which first premiered on Broadway two decades ago, does its level best to transpose the absurdity to another, also often absurd artistic medium.

The revival of Monty Python's Spamalot, both on Broadway in 2023 and now on tour, seems geared toward both longtime fanboys (and girls) of Monty Python, and to younger fans of the aging British troupe who perhaps came to the movies on streaming platforms in recent years via clips on social media — and were too young to have seen Spamalot in its first go-round.

By the time Spamalot premiered on Broadway in 2005, starring the great Tim Curry, New York Magazine's critic John Simon was already lamenting how poorly aged many of the recycled jokes seemed — but he seemed to be missing the point. For Monty Python fans, this stuff is ageless and forever witty.

The show opens with an in-joke for true fans — a narrator announces that the show is set in medieval England, but then the lights come up on the ensemble doing a song about Finland, "The Fisch Schlapping Song," complete with prop fish and slapping, which is framed as a brief misunderstanding. The song, written by fellow Monty Python member Michael Palin, actually comes from Monty Python's Contractual Obligation Album, released in 1980, and it's the only one in the show not written by Idle with frequent Python collaborator John Du Prez — who also composed music for Monty Python's Life of Brian and A Fish Called Wanda.

And much of the show continues this silliness, recycling and restaging jokes and vignettes from the Holy Grail film, including classic bits like "Where'd you get that coconut?", the Black Knight (who gets all of his limbs cut off but wants to keep fighting), and "The Knights Who Say 'Ni'".

Some of these now become amusing musical numbers, like "He Is Not Dead Yet," and the Lady of the Lake (played by the excellent Amanda Robles), the only female character in the show played by a woman, provides comic, often scene-stealing relief in a series of numbers, especially her duet with Sir Gallahad (Leo Roberts), "The Song That Goes Like This," which spoofs overwrought Broadway love ballads.

As King Arthur, the full-voiced Major Attaway is thoroughly amusing and seems to be enjoying himself, and the talented Chris Collins-Pisano is a delight throughout in a variety of roles including Sir Lancelot (who is gay in Spamalot, after John Cleese's film version merely rescues a male prince having mistaken him for a damsel in distress), and the Black Knight. Blake Segal is also quite funny as Arthur's servant Patsy, and Sean Bell shines as the musical-loving Sir Robin.

The latter third of the show stumbles a bit as it devolves into a direct spoof of Broadway shows, but the producers of the revival have made sure to update some references for contemporary laughs — for instance, in the infamous "You Won't Succeed on Broadway (Without Jews)" number, the list of famous Jewish stage people gets the addition of George Santos. And yes, there is a Trump joke or two in the mix as well.

What Monty Python's Spamalot may lack in original delights for the musical theater crowd it more than makes up for in specific giggles for Monty Python and British humor fans, and the audience each night is no doubt self-selecting with many of them — you know who you are.

'Monty Python's Spamalot' plays at the Golden Gate Theater through March 22. Find tickets here.