by Michael Buzzelli
Sir Arthur Pendragon (Adam Kantor) believes that for one brief shining moment, he can create a beautiful, democratic hub in his tiny hamlet of Camelot in Lerner & Lowe’s “Camelot.”
The timeless tale is based on T.H. White’s “The Once and Future King,” which is based on Sir Thomas Mallory’s “La Morte D’Arthur” spiraling even further down into the Arthurian legends, spoken word stories over campfires in England before it was the United Kingdom.
Arthur meets his betrothed, Guenevere (Kyla Stone), under false pretenses. She’s running from her fate; unaware she’s run smack dab into her future. The two fall in love.
Over the years, the king and queen create a paradise in Camelot. Knights from far and wide seek out their tiny kingdom to join in them on their quest for peace. One impossibly brave knight, Sir Lancelot du Lac (Ben Jacoby) of Joyous Gard.
When Lance meets Jenny, sparks fly. It’s only a matter of time before the king’s wife and his best friend give into their temptation.
Things get even more complicated when Arthur’s bastard son, Modred (Alexander Podolinski), shows up to stir the pot. He’s a spoiled brat who wants his father’s throne.
The musical is filled with iconic songs filled with humor and beauty, including the titular “Camelot,” alongside “The Lusty Month of May,” and “IF Ever I Would Leave You” and “What Do the Simple Folk Do?”
There’s a lot to like about this production.
Kantor is a fantastic Arthur, oozing with charm. He manages to sparkle when doing the comedic bits, but he also has the gravitas to do the deep dramatic parts. His defining speech, which closes the first act, was pitch perfect.
Stone was a spectacular Guenevere. She has an amazing vocal range. Guenevere is a complex character with an unsettling thirst for blood and a wandering eye. Stone gets all the nuances of Jenny.
Jacoby is a darling Lance. He is everything a Lancelot should be. Strong, charismatic and slightly terrifying in his righteousness. His fall from grace is tragic in every production.
While Modred doesn’t show up until the second act, Podolinski steals every scene he’s with his wicked guile.
The cast was backed by an incredible orchestra.
Mara Newbery Greer created some fantastic choreography, especially the dance during “The Lusty Month of May.” There was also some great fight choreography from Randy Kovitz.
Strong scenic and video design by Bryce Cutler. The snowfall on stage looked beautiful during a dramatic turn of events.
There were some odd choices in the show. John Grimsley played his characters, Merlyn and King Pellinore. He plays both roles too big and too doddering. It’s hard to tell them apart. There should have been a bigger distinction between the characters. He’s only forgiven when he’s Pellinore because he gets to show off Horrid (played by Gus, the dog), Pellinore’s faithful companion.
Past productions paint Morgan Le Fay (Andrea Weinzierl) as evil. Here, she’s a bit of a buffoon, filled with lust and gluttony. It’s not Weinzierl’s fault, but a diversion from an earlier draft of the play (I may be thinking of an insidious version of the character in John Boorman’s “Excalibur,” an imaginative retelling of the legend of King Arthur).
Director Mark Fleisher picked an important time to mount this classic. The story lulls you into thinking it’s a happy-ever-after fun times kinda musical, but it goes dark in the second half.
King Arthur tries to create a just and free society governed by rules and not barbarism. As our democracy disintegrates under authoritarian rule, you have to wonder if America has had its elusive, bright and shining moment.
“Camelot” proves that some big ideas are worth fighting for, worth dying for.
-MB
“Camelot” runs until June 22 at the Benedum, 237 Seventh Avenue, Pittsburgh, PA 15222. For tickets and additional information please visit here.
