And on a more serious note:

It's where the action is — but you need beaucoup bucks, because hit musicals now fetch $101.25 for prime seats (way more if you're dealing with a ticketing service or concierge desk), as in the case of "Spamalot," the hard-to-get show of the season.

On two separate trips here, we pigged out and took in 15 shows. The total might have been more, if shows like "La Cage Aux Folles" and "Little Women" hadn't prematurely folded.

Here are our notes on what we saw, and why go; we took in such hits as "Avenue Q," "Fiddler on the Roof" and "Wicked," not described here, in earlier trips:

'MONTY PYTHON'S SPAMALOT'

Shubert Theatre, 225 W. 44th St.

Running time: 2 hours, 20 minutes.

What's it about: Inspired by the 1975 "Monty Python and the Holy Grail" film, this nonstop romp capitalizes on the King Arthur legend (and the quest for the holy grail) with expected absurdity and unexpected glee. It includes noble beings galloping on nonexistent horses, accompanied by a sidekick who creates galloping sounds with a pair of coconut shells, an Arthur who sings "I'm All Alone" while his loyal aide stands but a few feet away and a still-living plague victim lamenting "I'm Not Dead Yet" (the sentiment is also on a collectible T-shirt). The goofy parodies of Broadway hits are a riot. Toss in sight gags, a sing-along, and — for Islanders, that Spam in the title (from the "Knights of the Round Table" — "we eat ham and jam and Spam a lot") — and you're talking sheer lunacy.

Who's in it: Tim Curry (as King Arthur), David Hyde Pierce (as Sir Robin), Sara Ramirez (as the Lady of the Lake — Tony winner for Best Featured Actress in a Musical), Christopher Sieber (as Sir Galahad), and Alan Tudyk (as Sir Lancelot). A motley crew of nuts, to be sure.

Credits: Eric Idle is creator, librettist, lyricist, co-composer. Winner of three Tonys, including Best Musical and Best Director (Mike Nichols).

Why go: It's the year's No. 1 show; and you have to experience it to fully explain it. Get a front seat and you might be hauled up on stage.

'THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE'

Circle in the Square, W. 50th St. between Broadway and Eighth Avenue

Running time: 1 hour, 45 minutes (no intermission).

What's it about: Six pubescent youths (played by adults), compete in a spelling bee, in a whimsical and sardonic take on life; each has baggage about growing up and some possess curious spelling techniques (one "spells" with his foot first, another "scribbles" on her arm). Throw in two unsympathetic adults (a pronouncer and a vice principal), and a theater space converted into a school gymnasium (complete with hand-made signs that spill over into the lobby area) and you have an H-I-T. None of the tunes are singable, but the laughs make up for the lack of hummables.

Who's in it: Derrick Baskin, Deborah Craig, Jesse Tyler Ferguson, Dan Fogler (Tony winner, Best Featured Actor in a Musical), Lisa Howard, Celia Keenan-Bolger and Jose Llana play the youths with a myriad of obsessions (liberal, over-achiever, etc.) set to songs; Jay Reiss and Sarah Saltzberg are the adults.

Credits: Winner of two 2005 Tonys, including Best Book of a Musical (Rachel Sheinkin); music and lyrics by William Finn, of "Falsettos" success; book by Rachel Sheinkin, based on "C-R-E-P-U-S-C-U-L-E," a play.

Why go: Spell this one A-W-E-S-O-M-E.

'CHITTY CHITTY BANG BANG'

Hilton Theatre, 213 W. 42nd St.

Running time: 2 hours, 30 minutes.

What's it about: This musical, based on the film inspired by the Ian Fleming story, flies only when its $1.5 million Grand Prix roadster varooms and careens above the audience. Except the title song by the Sherman Brothers, there's precious little else to applaud; the vehicle dominates the slim tale about an inventor, his two kids, their grandfather, and a Julie Andrews sound-alike you know will wind up in the front passenger seat by the final curtain. While this is a family show, the $100 tickets make it a pricey proposition. Too bad the experience isn't "Truly Scrumptious," which is the name of one character and a song. The car is sheer magic, but the ride is bumpy.

Who's in it: Raœl Esparza as Caractacus Potts, the father; Erin Dilly as Truly Scrumptious, the love interest; Philip Bosco as Grandpa Potts; Marc Kudisch and Jan Maxwell as the Baron and Baroness Bomburst; Kevin Cahoon as the Childcatcher, Frank Raiter as the Toymaker, and Henry Hodges and Ellen Marlow as the Potts kids, Jeremy and Jermina; and Chip Zien and Robert Stella, as the Baron's henchmen Goran and Boris. All provide erratic laughter and occasional charm but can't compete with the car.

Credits: Richard M. Sherman and Robert B. Sherman did the score, Jeremy Sams adapted the story from the film; Adrian Noble directed with the skill of an Army general, moving his troops (and dogs) on and off stage with measured cadence.

Why go: To see Chitty. See it on Broadway; road versions won't have the full tank of visual gas.

'ALL SHOOK UP'

PALACE THEATER, 1564 BROADWAY AT 47TH STREET

Running time: 2 hours, 15 minutes.

What's it about: Elvis Presley's hits are the foundation of this musical; the story is just an excuse. The lead, a roustabout dude named Chad, oozes appeal and charm as a guitar-strumming, hip-shaking biker in a small Midwest town. He creates a ruckus, causing the mayor to ban his music (shades of "Footloose"). Chad, who yearns for a Monroe-like blonde museum curator named Sandra, is oblivious to a cutie named Natalie who pretends to be Ed, a boy, which creates uncomfortable feelings when they're up close and personal. Hokey fluff, clad in the rituals of the '50s and '60s, and delightfully set to the beat of Elvis.

Who's in it: Cheyenne Jackson is Chad, the Elvis figure, from recent stints in "Aida" and "Altar Boyz"; Jenn Gambatese is Natalie, from "Footloose" and "Hairspray," who does the "Twelfth Night" shtick; Leah Hocking is the museum curator, Miss Sondra, who also is the apple of Jonathan Hadary's eye (as Jim, Natalie's father); Sharon Wilkins is Sylvia, who owns the town's saloon; Mark Price is Dennis, who secretly adores Natalie. Some possess rich vocal chords.

Credits: Directed by Christopher Ashley, who mounted "The Rocky Horror Show," with book by Joe DiPietro, author of "I Love You, You're Perfect, Now Change." David Rockwell's sets are mobile and eye-filling, from license-plate-adorned bar to decaying amusement park.

Our take: A real crowd-pleaser, with songs you know and can sing. Go, cat, go!

'DIRTY ROTTEN SCOUNDRELS'

Imperial Theatre, 249 W. 45th St.

Running time: 2 hours, 40 minutes.

What's it about: A new musical based on the Michael Caine/Steve Martin film about an outrageous pair of con artists trying to woo rich women and relieve them of their wealth. There are deceptions, impersonations and complications, most often with high camp turns, delicious parody, enterprising capers.

Who's in it: John Lithgow is Lawrence Jameson, ace scoundrel; Norbert Leo Butz is Freddy Benson, a small-time con-man (Tony winner for Leading Actor in a Musical); Sherie Rene Scott (last seen in "Aida") is Christine Colgate, a soap heiress; and Joanna Gleason is Muriel Eubanks, a secondary figure in a romantic subplot, who has a thing for Gregory Jbara, as Andrew Thibault, the police chief.

Credits: Jack O'Brien, (last hit, "Hairspray") directed, juggling broad comedy with romantic numbers, extracting cunning performances from Lithgow and particularly Butz.

Why go: Boisterous fun and games, from start to finish. And Butz is a talent you're not likely to forget.

'DOUBT'

Walter Kerr Theatre, 219 W. 48th St.

Running time: 90 minutes (no intermission).

What's it about: A priest and a nun face off at a Bronx Catholic church, circa 1964, where the strong-willed nun (who's the school principal) challenges the priest of the parish (who oversees the altar boys), for alleged sexual misconduct, even if she has some doubts. Based on John Patrick Shanley's Pulitzer Prize-winning play. The impact of the play comes not with the verbal fisticuffs between accused and accuser but among the viewers, who will ultimately take sides.

Who's in it: Brian F. O'Bryne is Father Flynn, the priest; Cherry Jones, as Sister Aloysius, won a Tony (Leading Actress in a Play) for her part as the powerful, unyielding administrator who has an agenda and doesn't stray from it; Heather Goldenhersh, as Sister James, sees both sides of the issues (and is equally swayed by Flynn's progressive, more contemporary beliefs and the solid church roots of Aloysius), and brings the incident to light when she tells her superior of her concerns; and Adriane Lenox, who also earned a Tony (Featured Actress) as Mrs. Muller, the naive but forgiving mother of the black student (who's never seen), advocates looking the other way to maintain equilibrium and enable her son to retain his spot as an altar boy.

Credits: Doug Hughes (who directed last season's "Frozen") directed, with an eye for even the tiniest of detail, from a pursed lip of the over-zealous nun to the raised voice of the priest.

Why go: This year's Best Play Tony plum. If you love drama, are concerned about child abuse, and have an open mind about right vs. wrong, this one will set you thinking.

'THE LIGHT IN THE PIAZZA'

Vivian Beaumont Theater at Lincoln Center, 150 W. 65th St.

Running time: 2 hours, 30 minutes.

What's it about: A poignant and sophisticated new musical, set in Italy and resonating with grace and charm. A mother and daughter tour Florence and Rome in the summer of 1953, and an encounter with a debonair Florentine gent forces the mother to keep them apart. The play is mounted with elegance that shouts "Grace Kelly" or "Audrey Hepburn," and boasts a rich score that seems to be equal parts opera and Stephen Sondheim, and is totally rhapsodic. The artistically inclined will embrace it, but its theme of acceptance and rejection delivers a slice-of-life reality told in movie-like scenarios amid powerful sets and effects.

Who's in it: Victoria Clark (Tony winner, for Leading Actress in a Musical) is Margaret Johnson, the mother; Kelli O'Hara, is Clara Johnson, the daughter. Matthew W. Morrison is Fabrizio Naccarelli, the Italian suitor; Mark Harelik is his father, Michael Berresse is his brother, Patti Cohenour is his mother, and Sarah Uriarte Berry is his sister-in-law.

Credits: Bartlett Sher is the director; the songs are by Adam Guettel, with book by Craig Lucas, based on a novel by Elizabeth Spencer. Michael Yeargan's sets and Catherine Zuber's costumes are vibrant, giving luxurious, luminous elegance to the production.

Why go: The freshest breeze on Broadway in years — intelligence combined with invention. One of brightest "losers" of the Best Musical Tony ever. Likely to be a hot commodity for regional and community theaters.

'STEEL MAGNOLIAS'

Lyceum Theatre, 149 W. 45th St.

Running time: 2 hours, 30 minutes.

What's it about: A Louisiana beauty parlor is the primary setting for this revival of the 1987 off-Broadway comedy by Robert Harling, exploring a closely-knit circle that is high on chatter and patter, low on suspense. It's mostly girl talk, but the reincarnation proves that in the hands of able actresses, the museum piece still works.

Who's in it: Delta Burke brings her "Designing Women" presence to the role of Truvy, the beautician; Lily Rabe is Annelle, the new hired hand with a past; and the customers include Frances Sternhagen as Clairee, Rebecca Gayheart as Shelby, Christine Ebersole as M'Lynn, and Marsha Mason as Ouiser.

Credits: Jayson Moore, who directed last season's darling, "Avenue Q," directed, pulling out Southern drawl and hospitality from Burke, Sternhagen, and Mason.

Why go: Celeb casting is appealing, but men may feel like they're watching Lifetime TV.

'SWEET CHARITY'

Al Hirschfeld Theatre, 302 W. 45th St.

Running time: 2 hours, 30 minutes.

What's it about: This musical about dance hall hostess Charity Valentine is still loaded with Neil Simon one-liners and singable hits ("Big Spender," "If My Friends Could See Me Now") by Cy Coleman and Dorothy Fields, but everything considered, this "Charity" is largely an echo of past productions.

Who's in it: Christina Applegate, though she cannot overcome the power of Gwen Verdon (who created the role, with late husband Bob Fosse, who directed and choreographed with a signature never to be duplicated) or Shirley MacLaine (who did the screen version), tries hard and is likeable and tenacious as Charity; for a younger generation not exposed to the earlier players, this could be sweet news. Denis O'Hare (from "Take Me Out") is Oscar Lindquist, who performs a new song ("A Good Impression") not in other versions.

Credits: Walter Bobbie directed (past credits, "Chicago," "Twentieth Century"), Wayne Cilento choreographed (last hits, "Wicked," "Aida"); superb second-tier work by Nickie (Janine LaManna) and Helene (Kyra Da Costa), Charity's bosom bodies at the club Fandango; and Paul Schoeffler as Vittorio Vidal, the Italian film star.

Why go: Applegate has overcome tremendous odds (including a broken foot); there's a ring of irony and truth when she sings, "If My Friends Could See Me Now."

'ALTAR BOYZ'

Dodger Stages, 340 W. 50th St.

Running time: 90 minutes (no intermission).

What's it about: Boy band meets Christian rock in the guise of a revival; this show is part Backstreet Boys/'N Sync, part hip-hop and part cartoon-coming-to-life, with lots of bounce per ounce of music. It's structured like a rock concert, with each singer taking solo turns, expressing themselves with energy, sizzle and soul-moving earnesty.

Who's in it: Scott Porter is Matthew, Tyler Maynard is Mark, Andy Karl is Luke, David Josefsberg is Matthew and Ryan Duncan is Juan; they are parts of a whole that include the hunky, the funky, the sexually challenged and the ethnically challenged, whose "group" enticements include earphone/mikes like "Rent" actors and choreography that brings out the sweat by the third song.

Credits: The show, nominated for the Obie (off-Broadway's answer to the Tony), features lively songs by Gary Adler and Michael Patrick Walker, a book by Kevin Del Aguila, and choreography by Christopher Gatelli.

Why go: Unpretentious, fresh, innocent, charming. You also get a chance to explore the site, a five-plex that used to house movies, reborn to provide acting space.

'FORBIDDEN BROADWAY SVU: SPECIAL VICTIMS UNIT'

47th Street Theatre, 304 W. 47th St.

Running time: 1 hour, 45 minutes.

What's it about: A spoof of beloved Broadway winners and sinners framed in a "Law & Order" motif, complete with trench-coated investigators lamenting Broadway's shrinking budgets and casts, roasting and toasting everything on the Great White Way — the unlikely casting of Harvey Feinstein in "Hairspray" and "Fiddler on the Roof," the robbery of Jerome Robbins' choreography in "Chicago," the naughtiness of the puppets of "Avenue Q," the galloping knights from "Spamalot," the broken ankle of Christina "Sweet Charity" Applegate.

Who's in it: Ron Bohmer, Megan Lewis, Jason Mills and Jeanne Montano are incredible mimics, with keyboarder David Caldwell providing tuneful support. They perform so much, so often, so effortlessly.

Credits: Gerard Alessandrini is creator, writer and director — the true showmeister — of this long-running hit, now in a cozy new off- Broadway home, complete with cramped balcony. Production bonus: lavish costumes by Alvin Colt.

Why go: Still the best one-stop recap of the Great White Way.

'PHANTOM OF THE OPERA'

Majestic Theatre, 247 W. 44th St.

Running time: 2 hours, 30 minutes.

What's it about: The famous story of the disfigured, masked denizen lurking in the catacombs of the Paris Opera House and the woman with whom he falls hopeless in love.

Who's in it: Hugh Panaro dons the Phantom's mask, Sandra Joseph is his Christine, Tim Martin Gleason is Raoul; neither Joseph nor Gleason were performing at the show I caught. Jeff Keller is Monsieur Firmin, George Lee Andrews is Monsieur Andre, and Anne Runolfsson is Carlotta.

Credits: Harold Prince's direction has withstood the test of time. Andrew Lloyd Webber's score endures as it endears; Panaro is a slight figure with a powerful voice.

Why go: Relive and reconnect with the magic that is "Phantom," as it prepares to make theatrical history, becoming the longest-running play on record on Jan. 9, bypassing "Cats."

'THE MUSICAL OF MUSICALS: THE MUSICAL!'

Dodger Stages, 340 W. 50th St.

Running time: 90 minutes.

What's it about: Four actors-singers-musicians (they alternate in leads, duos, and time at the keyboards) unleash a flurry of songs and dances in the style of Rodgers and Hammerstein, Stephen Sondheim, Jerry Herman, Andrew Lloyd Webber and Kander and Ebb, seemingly to help "pay the rent," the thread that sews the fabric of the show together.

Who's in it: Craig Fols, Lovette George, Eric Rockwell and Joanne Bogart are the do-all, know-all, try-all enthusiasts, who, without benefit of costume and relying strictly on style, capture the essence of the beloved show masters.

Credits: Rockwell and Bogart did music and lyrics, respectively, and collaborated on the book; Pamela Hunt directed and choreographed. Clearly, this is a huge labor of love.

Why go: This is an only-in-New York fling, making sport out of the biggies on Broadway. It helps to have some knowledge of the composers and the shows.

Reach Wayne Harada at wharada@honoluluadvertiser.com.