Excalibur. No, that isn’t it.

Exuberance. Yes, that’s the word for The Encore Musical Theatre’s production of “Spamalot.” In Thalia V. Schramm’s staging, the Monty Python musical may lose a little of the heft and polish it had on Broadway but retains all of the hilarity and charm. If you aren’t already a Monty Python fan, you will be. If you are a fan of the British comedy troupe, you’ll likely be among the theatergoers happily whistling along to “Always Look On the Bright Side of Life.” (I say “likely” only because not everyone can whistle.)

A raucous ruckus of reinvention, “Spamalot” recasts King Arthur and his knights into a band of nincompoops. Everything works here, from broad acting, to exaggerated accents (when called for), robust singing, a flawless five-person orchestra led by pianist R. MacKenzie Lewis, Daniel C. Walker’s cartoonish castle set and unobtrusive lighting, and Sharon Urick’s astounding array of costumes with an even more astounding number of changes offstage. Props, too, to properties designer Anne Donevan whose work incorporates rubber fish, a stuffed cow the size of a St. Bernard, and a killer bunny hand puppet. And that’s just the animals.

Based on – creators Eric Idle and John Du Prez say “lovingly ripped off from” – the movie “Monty Python and the Holy Grail,” one of the musical’s charms is that it never forgets it’s a show, with such self-referential numbers as “The Song That Goes Like This” and “You Won’t Succeed on Broadway”

Most of the actors do double duty or more, except for Keith Kalinowski as King Arthur, and Liz Jaffe as the Lady of the Lake. Come to think of it, each does a kind of double duty: Kalinowski manages to be both regal and ridiculous, and Jaffe demonstrates vocal strength while making fun of her singing.

Sebastian Gerstner is endearing and funny as Arthur’s servant/sidekick Patsy, supplying the sound of hoof beats (clacking coconuts) as they pretend to ride horses, and he’s a scream as the French Taunter calling out epithets (“I fart in your general direction”) in a ridiculous accent.

Joey DeBenedetto is a hearty baritone as Dennis Galahad (who knew?), and Brian Charles and Ryan Dooley bring charisma and boundless energy as Sir Lancelot and Sir Robin, respectively.

None of this would be possible without a strong ensemble of singers/dancers who appear to be having as good a time as the audience. And that’s a very good time, indeed.