Nik Walker, now in the just opened revival of the Monty Python musical Spamalot, chatted with Theater Pizzazz contributor Ron Fassler on what it’s like cavorting onstage with a splendid group of clowns nightly (twice on Wednesdays and Saturdays) at the St. James Theatre. A veteran of such Broadway shows as Hamilton, Motown the Musical and Ain’t Too Proud, Walker is also an accomplished writer and musician. Oh, and he’s funny.
Ron Fassler: First off, congrats on Spamalot and does this in any way fulfill an ambition to do something along the lines of Monty Python-style humor? Were you a fan of the Holy Grail film or of the Python comedy shows in general as a youth? Or did you come in cold to this sort of comedy?
Nik Walker: Awww, thanks for the congrats!!! So yeah, while Spamalot itself wasn’t in my purview prior to this (believe it or not, I have a surprisingly small musical theater knowledge!), Monty Python has long been a staple of our household. My wife is obsessed with their movies and sketches, and the fact that I’m in this show now, should hopefully preserve our marriage for a couple more years. But yes, I love the Pythons- their writing is subversive and timeless; their humor, so-smart-it’s-stupid. The material they’ve given us is such a gift, and I’m honored to get to play in their sandbox!
RF: What are the unique challenges this show presents for you? What are the pitfalls, if any, that are involved?
NK: Oh, I’d say the biggest challenge is my ever-present imposter syndrome! I’ve had a fruitful career onstage, on sets, and at the writers desk, but I recognize my newness when it comes to presenting this kind of comedy to a New York audience. It is one hundred percent a “trust in the show and the hard work and try to just enjoy the ride” kind of moment.
RF: You’re working with some extremely committed and experienced stage clowns in Spamalot. Is that intimidating or inspiring?
NK: I think the thing that gives me comfort within this particular group is that largely, we were all friends outside of this beforehand. James is my big brother and mortal “frienemy” of many years, since the Hamilton days. Taran is my Star Wars/Disney parks travel buddy, Alex Brightman is my writing partner over at Warner Bros. And then there’s Urie, Slater, Fitz, Kritzer —who are geniuses. It’s all people who I look up to, who have taken such good care of me throughout my life and work; makes it a helluva lot easier stepping out of my comfort zone, when the landing pad is filled with such egoless love and kindness.
RF: Has there been anything in your training or stage experience to prepare you for a stylized production like Spamalot?
NK: Watching Python!!! That, and literally hitting up every funny person I know (that will still take my calls) and grilling them on what makes comedy work. Lots of coffee dates were made this summer, with people like Chris Seiber, Ramy Youssef, Mario Cantone. Across the board, the greatest lessons they gave me, were on the art of letting the comedy flow. Mike Nichols is quoted as saying “it’s not you who is funny, the thing is funny,” and I very much take that to heart in this production.
RF: You first did this production with Josh Rhodes in D.C. and now you’re repeating but with some new cast members. What makes this second time around different and do you feel the stakes are a teeny bit higher now that it’s for Broadway? How, as an actor, do you specifically deal with audience and critical expectations?
NK: Stakes don’t feel higher, only because I work very hard not to let that part in. If we were at all successful in DC, which they tell me we were, I truly believe that it was because of the trust and play we established within the company. It’s never been about chasing a laugh or an audience, Broadway or otherwise; this is OUR recess time, and we’re just gonna invite others in on it. Josh has been amazing at maintaining and cultivating that sense of commitment to each other, rather than encouraging the search for any sort of external affirmation, he keeps the ball in the air, and the pressure off of our shoulders. We’re not going up there to make Broadway love us. We’re going up there because we have a lot of comedic love to give to Broadway. It’s a service, not a seduction, and that’s what keeps it pressure-free and fun, at least for me.
RF: Finally, does being silly come natural to you or is there any effort involved? (not as silly a question as you might think).
NK: Oh dude—when my manager came to see me in the DC run, she said to me, “you know, I think this is the most YOU I’ve ever seen you get to be onstage.” I’ve played a lot of very serious, brooding roles in my time. I’m also the guy who makes annual Disney and Universal theme park trips, who has a trunk of Nerf guns in his dressing room, who has an unhealthy obsession with children’s cereals. This is some of the purest fun I’ve ever gotten to have at work, and I’m making sure to enjoy and indulge in every single minute of it.
Spamalot is in an open end run now at the St. James Theater (246 W 44th Street, between Seventh and Eighth Avenues). www.spamalotthemusical.com
Featured Photo by Coco Jourdana
