It's described as a new musical "lovingly ripped off from Monty Python and the Holy Grail."

It has everything you would expect from the Monty Python hallmark, total irreverence, irrelevance, buffoonery, naughtiness, anarchy, anachronism - and brilliant wit.

I don't remember when I last had my funny bone so comprehensively tickled.

Marcus Brigstocke and Todd Carty as King Arthur and his horse, Patsy, have a great double act and a two-way joke with the audience about the horse being only pretend, as Carty clatters coconut shells for sound effects. He displays subtle comic talents never exploited in his role as Mark in EastEnders.

The shells also spark a Pythonesque debate about how coconuts came to be in Medieval England.

There are socio-political jokes of all eras, and panto style digs at Bath's one-way traffic system.

The show sends up the musical genre mercilessly, not least by the inclusion of a song called The Song That Goes Like This - a big dramatic/romantic number with absolutely no substance - and it's reprised.

The show does however boast a genuinely awesome soprano in Amy Nuttall who was audible above the whole chorus of lusty male voices. She also has wickedly good comic timing.

The audience spontaneously joined in the song that is inseparable from any Monty Python production, Always Look on the Bright Side of Life.

The crib sheet lowered at the finale was hardly necessary, although there were inevitably a few Python novices present.

It is energetic ensemble playing, some of the cast taking on at least four personas.

The slick seven-piece band under the direction of Dean Austin plays live, on stage and is occasionally seen as well as heard.

Eric Idle who wrote the show with John Du Prez, appears as God, on film.

Catch this treat before it departs on Saturday if you possibly can.