Change May Be Good For You

Camelot – Music Theater Works

First, a word of warning: This is not your grandmother’s “Camelot.” For audiences planning to attend Music Theater Works’ current revival of the Lerner and Loewe classic, especially those of a certain age, you may be disappointed. Many of us remember the original 1960 Broadway production of the Richard Burton/Julie Andrews/Robert Goulet musical as a colorful fairy tale filled with pomp and pageantry, and featuring a large cast of supporting singers and dancers. After all, the show won four Tony Awards for a good reason, and the musical was brought to the silver screen seven years later in a splashy, wide-screen film version, with Richard Harris and Vanessa Redgrave in the leading roles. Now, for younger, contemporary theatergoers, who may not have a preconceived notion of how this musical should be presented, and who welcome a more current, cutting edge production, this new vision might offer a pleasant evening of enjoyment. But for most of Music Theater Works’ typical season ticket holders, who tend to be 40 or older, this new production just might disappoint.

With the mega success of the captivating and clever “My Fair Lady,” which was based upon Bernard Shaw’s play, “Pygmalion,” Alan Jay Lerner (book and lyrics) and Frederick Loewe (music) opted for a more cheerful conclusion for their two leading characters. Since it contradicted the original ending that Shaw wrote, the playwright was not amused. However, it sold tickets and made audiences happy. Lerner and Loewe then followed up their second Broadway hit, after “Brigadoon” made them names, with an adaptation of T.H. White’s popular novel, The Once and Future King. The source, which was epic in length and stuffed with a veritable kingdom of minor characters, was a retelling of the Great Britain’s Arthurian legend. One of the problems with this musical about the Knights of the Round Table was that it began with a funny and fanciful first act. However, the story unexpectedly takes a dark turn by the end of Act I. Then the second act, which offers only one feel-good song (“What Do the Simple Folk Do?”), ends the musical in grief and gloom, with just a hint of hope for the three main characters. At its best, “Camelot” can be a hard-sell.

This 21st century visit to “Camelot” does have much to offer. Musical director Linda Madonia, who comes with an impressive resume of earlier productions with Music Theater Works, as well as at Porchlight and Drury Lane, has guided her cast toward a lovely vocal interpretation of each Lerner and Loewe song. Her expertise as a conductor and pianist allows this romantic score, accompanied by a talented 9-member backstage orchestra, to simply soar. 

Brianna Borger (known as one of Chicago’s finest musical theatre actresses), in her first foray as a director, has streamlined her production. She’s decided to strip the musical down to its very simplest components, bringing this show in at exactly two hours, including the intermission. Brianna’s reimagined her production as a scaled-back, straightforward tale that focuses on the ideals, hopes and loves of its main characters. Ms Borger envisions the story of Arthur, Gwenevere and Lancelot as a familiar legend being retold and enacted by a wandering troupe of players. The setting isn’t exactly the Middle Ages, as is usually depicted in most productions. She calls it “outside of time and place,” and the production’s scenic design, by Ann Davis, and costumes, designed by Martha Shuford, reflect this point of view. To this end, Ms Borger and her creative team are successful.

The cast ranges from excellent to very good. Michael Metcalf, who impressed audiences with his excellent portrayal of Sir Harry in Theo Ubique’s “Once Upon a Mattress,” is sublime as King Arthur. This good-looking actor is most convincing as young Arthur at the beginning of the play, although the audience will have to use their imagination to see Mr. Metcalf as the older, wiser King in the musical’s bittersweet conclusion. Often this character is cast by a talented actor who hasn’t much musical ability. But in Michael Metcalf we have a talented 

actor/singer who makes the chirpy title song, “I Wonder What the King is Doing Tonight”and the wistful “How to Handle a Woman” a melodic delight.

He’s matched by lovely and vocally gifted Christine Mayland Perkins as Queen Gwenevere. As with Mr. Metcalf, Ms Perkins seems more believable as the young Gwenevere. The first time audiences meet her, Christine is lamenting that she’s a woman who’s been used as barter to join two kingdoms together, and, as such, will never know “The Simple Joys of Maidenhood.” Listen carefully to the lyrics because this is one Lerner’s funniest numbers in the show. Ms Perkins is a musical delight in “The Lusty Month of May,” “Take Me to the Fair,” the melancholy “Before I Gaze at You Again” and the gorgeous “I Loved You Once in Silence.” Sometimes though, particularly in Act II, when we look at the actress’ face, it’s hard to understand exactly what Gwenevere is feeling about what’s happening around her. It’s almost as if she’s tuned out of her character for a moment.

As Lancelot, the boastful knight-to-be, just recently arrived from France, Nathe Rowbotham is rather difficult to assess. They possess a nice, clear singing voice, although sometimes it’s a bit on the soft side. Nathe certainly has the saintly demeanor perfected, and they’re always natural in their portrayal and never exaggerated. Rowbotham’s “C’est Moi” is smooth, clear and directly to the point. In Act II, “If Ever I Would Leave You” is nicely sung without the typical bravado and the feeling that we’re listening to the show’s one pull-out hit single. But in Rowbotham’s love scenes there’s very little chemistry and passion between Lancelot and the Queen. There’s hardly the feeling that the two are sneaking around with their love affair. It’s actually difficult to understand what exactly draws Gwenevere to this pretentious Frenchman. 

On the flip side, Parker Guidry creates a truly magnificent and believable villain in their portrayal of Arthur’s bastard son, Mordred. Also seen in “Once Upon a Mattress” at Theo Ubique, as a delightful Lady Larkin, this genderfluid actor knows exactly how to get to the heart of a character. Guidry’s rendition of “The Seven Deadly Virtues” is spit out with all the sarcasm and venom one would expect from this smarmy character. Beautiful Hannah Mary Simpson, captivating Sarah Patin and ruggedly handsome Tommy Thurston leave it all on the stage as the knights, Sir Dinadin, Sir Sagramore and Sir Lionel. Their excellent combat skills and swordplay is violent and believable, thanks to the guidance of fight choreographer, Nick Sandys. 

But for a beloved, well-known story that most audiences have come to equate with overblown romantic splendor and a huge, colorful cast in colorful Medieval costumes, this “Camelot” will probably disappoint. Missing are the characters of Arthur’s wizardly tutor, Merlin; the evil Enchantress, Morgan le Fay; the naughty fairy sprite, Nimue; and the elderly, slightly befuddled King Pellinore with his lovable dog. And except for the three aforementioned knights, plus and a couple of other unnamed actors, there’s no ensemble to fill out the musical numbers. Also, in addition to some beautiful instrumental numbers, gone is the enchanting song, “Follow Me.” On the positive side, the show isn’t nearly as long as previous productions. So I guess the takeaway from this new revival of “Camelot” is that we should be open to new ideas, change may be good for you and you can’t have your cake and eat it too.             

Recommended

Reviewed by Colin Douglas

Presented October 21-November 13 by Music Theater Works at the North Shore Center for the Performing Arts, 9501 Skokie Blvd., Skokie, IL.

Tickets are available in person at the North Shore Center box office, by calling 847-673-6300 or by going to www.musicaltheaterworks.com/camelot/

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.