I walked in to the theatre expecting just a Hamilton parody, but it was so much more. Poking fun at Lin Manuel Miranda, sure, but mostly challenging Broadway in its lack of originality the past few years. (I mean, Mean Girls is a classic for my generation and one of the most-quoted movies ever… but a Broadway musical, REALLY?!)

Disney suffered a few kicks in the shins, too, with Disney-originated shows taking over Broadway. What once was only Lion King and Beauty and the Beast, Disney now practically owns Broadway (note: hyperbole), and we should all be watching out for a super-problematic Pocahontas coming around the river bend, or an uncomfortable Aristocats that, when watched again as an adult, is so cringable a person (read: me) cannot even finish it.

Though Spamilton poked fun at a few specific shows, the writer really emphasized Broadway’s change. The past few years have been when all Tony awards are given to just two different productions, because… they are really that great? Or because there just isn’t the depth of competition?

School of Rock, which I just saw, got a quick teasing poke, but other recent musicals were more of the brunt of continued sassy responses. Charlie and the Chocolate Factory, for example, takes a hit, when Alessandrini uses music from the show to describe it as wildly creepy, not at all kid friendly (despite its audiences filled with children), and how problematic of a character Willy Wonka is.

Book of Mormon, easily the one of the most-loved musicals of the past decade and winner of multiple Tony Awards in 2011 — is finally named for what it is: a flat show filled with dumb humor. I appreciate humor in shows, but I want it to be smart, witty humor; even shows that are overflowing with witty humor still have some absurd direction with one of the characters doing something stupid for laughs, like farting, or a weird way the character giggles or laughs, to appease the brainless in the audience who miss all the witty jokes. And I HATE when directors add those moments, it feels like they are dumbing down the show to appeal to this new-world Broadway fans who can’t appreciate theatre at its heart. I suppose I do not need to justify this, but I did see Book of Mormon, and I thought it was mostly funny, and at the least entertaining, but not a show I would recommend with outstanding reviews or something I’d pay to see a second time.

Alessandrini did not miss the opportunity to bring Phantom’s sequel Love Never Dies into his magnificent spook-show. I am a huge Andrew Lloyd Weber fan, but I left Love Never Dies at intermission, which I had never done before. Spamilton does acknowledge Andrew Lloyd Weber’s success when calling out the disappointing sequel.

And, one of the funniest moments, was brought to life towards the end: How Lin-Manuel Miranda “made theatre straight again” with lines indicating how the gay actors are now just side characters with just one song, and how the fan base of Hamilton is unlike general Broadway fans. A favorite line includes “Kinky Boots is going straight to hell.” (Kinky Boots is one of the best shows I have ever seen, by the way, and everyone, straight or gay, should see it!!)

I do not know if I have ever laughed so much in an 80 minute period. Bostonians – go to Huntingon Theatre and see Spamilton. Others – keep an eye out for a tour. I recommend for at least moderate-theatre-goers; it’s entertaining for all, but a knowledge of theatre is what makes the show so goddamn hilarious.