“Spamalot” rhymes with laugh a lot.

And laugh a lot you will at “Spamalot,” through May 22, Civic Theatre of Allentown.

As one attendee said after the May 6 opening night performance seen for this review: “This is just what we need now.”

I couldn’t agree more. Monty Python is in the tradition of humor (and journalism, for that matter) that, as Finley Peter Dunne wrote in his syndicated newspaper column in 1902, “comforts the afflicted and afflicts the comfortable.”

“Spamlot” is filled from beginning to end with barbs, send-ups, puns, visual trickery and schtick that sends up all manner of authority, history, psychology, religion, ethnicity, gender, and manners, too, with satire, farce, whimsy and the fantastical.

No one, no place, no event and no topic is off-limits, not even the show itself, which begins with “Fisch Schlapping Song,” when the Mayor and Ensemble mistakenly does a production number about Finland instead of England, as requested by the Historian (an off-the-beamingly straight-forward Patrick Mertz).

“Spamalot,” aka “Monty Python’s Spamalot,” was adapted from the 1975 film, “Monty Python and the Holy Grail,” a parody of King Arthur and the Knights of the Round Table; the Broadway musical, “Camelot” (1960), and the canned meat product, Spam.

The original Broadway show (2005) received 14 Tony Awards nominations, winning three in categories, including Best Musical. Book and lyrics are by Eric Idle. Music is by John Du Prez and Eric Idle.

Will Morris, Civic Theatre Associate Artistic Director-Production Manager, directs the “Spamalot” cast to the extreme limits of comedy and it really works. The cast seems to be having enormous fun, and, therefore, so does the audience.

The intense choreography by Deena Linnn takes the actors through their paces and all are up to the challenge, which includes complex chorus lines, intricate and fast-stepping and even a somersault or two.

Scenic Designer Alex Sharkey, working with Scenic Artist Jan Joyce, bookends the stage with two castle turrets and moves set pieces around to serve the storyline theme of the quest. Lighting Designer Paul Halada fills in and expands upon the scrims, screen projections and animations.

Technical credits are first-rate, including Musical Direction (singing is to a recorded track) by Nick Conti, Sound Designer Randall Utsch, Hair and Wig Designer Kim Danish with Costumes by Maine State Music Theatre.

There are many standout performances, chief among them that of Rowan Huggins (Lady of the Lake), who can stand center stage and belt it out with the best of them, as in her solo spotlights, “Lady of the Lake,” accompanied by the Chorus, and “Whatever Happened to My Part.” Moreover, Huggins is an excellent comedienne.

Huggins duets with Mason McGowan (Sir Galahad), accompanied by the Laker Girls (simultaneously hilarious and cute throughout the show) on “The Song That Goes Like This”; with King Arthur (the outstanding Dan Becker), accompanied by the Knights and Ensemble on “Knights of the Round Table,” and with Becker, the Knights, Laker Girls and Ensemble on “Find Your Grail.”

Doug Ace (Sir Robin) and George Hrab (Sir Lancelot) are side-splittingly funny in “I Am Not Dead Yet,” which epitomizes the Pythons’ style of humor.

Becker is in fine voice, including on “All for One,” with his aide, Patsy (the hapless and humorously put-upon Ben Youngerman), Sir Bedevere (Shaun Hayes), McGowan, Hrab and Ace; “King Arthur’s Song,” with Youngerman, and the iconic, “Always Look on the Bright Side of Life,” with Youngerman and the Knights, a giddy, simplistic triumph that opens Act II and closes the show, with the audience singing and whistling along. It’s not such bad advice for dark days of gloom and doom.

Civic Theatre of Allentown’s “Spamalot” is one of the funniest musical comedies you’ll see this week or any week in the Lehigh Valley.

“Spamalot,” 7:30 p.m. May 12, 13, 14, 19, 20, 21, and 2 p.m. May 15, 22, Civic Theatre of Allentown, Nineteenth Street Theatre, 527 N. 19th St., Allentown. Tickets:

http://www.civictheatre.com; 610-433-8903