A Feminine Focus

The Last Queen of Camelot

The lights dim, cries of battle fill the intimate Edge Theater, swords clash and royalty reigns. In Idle Muse Theatre Company’s world premiere, skillfully adapted and capably directed by Evan M. Jackson, audiences revisit the world of King Arthur, Sir Lancelot and Queen Guinevere. In this new script, Jackson takes a step back to 14th century Briton, and breathes new, feminine focus into a story that’s become a familiar legend over the centuries. 

This new adaptation claims to be “a reimagining of the classic Camelot story,” but there’s no reference to the source from which it was taken. Idle Muse’s original two hour drama seems to be loosely based upon T.H. White’s epic classic, The Once and Future King. It especially feels drawn from the third portion of his novel, “The Ill-Made Knight,” which focuses on the forbidden love between Guinevere and Lancelot. The play also brings in Elaine, a woman who appears in this part of the novel, who once loved Lancelot but has lost him. But because this play also evolves into the spiraling downfall of King Arthur and his Round Table, spearheaded by Mordred and his wicked mother, Morgan Le Fay (who’s Arthur’s half-sister), it’s probable that Mr. Jackson also borrowed ideas from the fourth section of White’s novel entitled “The Candle in the Wind.” But, sitting there watching this familiar tale unfold, I couldn’t help thinking that this production was basically Lerner & Loewe’s 1960 musical, “Camelot,” but without the songs.

For those unfamiliar with the story, this is a tale of struggle for power, peppered with betrayal and forbidden love. Arthur is the revered King of Camelot. Guinevere is his Queen and, particularly during a time when men ruled the world, an particularly wise and highly-respected woman. After Lancelot and Guinevere confess their love for each other, the playwright balances their illicit romance with Morgan Le Fay’s evil and selfish machinations to place her sniveling son, Mordred, on the throne. Lady Elaine has followed Lancelot to Camelot in an attempt to win him back, never realizing that the knight and the Queen are secret lovers. A tryst in the woods, a pair of spying eyes, treason, treachery and turmoil all culminate in death and destruction. In the end, a violent battle between Morgan and Guinevere ultimately determines the future of the kingdom. 

One of the finest elements of Evan Jackson’s female-centric  adaptation is how he portrays Guinevere as a victim and a political pawn. She didn’t marry Arthur after meeting and falling in love with him. As the Queen reminds everyone at court, their union was an act of convenience. It was an arranged marriage, a contract between two governments, as it often was throughout history. The purpose was to unite two kingdoms, strengthen the monarchy and provide a male successor to the throne. Guinevere had never laid eyes upon Arthur before their wedding day. However, as the maiden later confesses, it was when Sir Lancelot was sent to convey her to Camelot that Guinevere fell in love with him on the journey. The musical says it succinctly in Guinevere’s beautiful ballad, “I Loved You Once in Silence.” But now, after the pair have confessed their attraction for each other, their love may be considered treasonous, and Arthur’s pride might be hurt, but this isn’t really adultery. 

Directed with passion and spirit by Evan M. Jackson, the production is modest in spectacle and scope. Thankfully, there are no massive set pieces rolling on and off the intimate stage. Mere suggestions of locale suffice denoted with benches, a chair or two and a creative Lighting Design, by Laura J. Wiley. Sound and Music Designer, L.J. Luthriner add a great deal to this presentation, as well. Amanda “Freja” Johanson’s simple costumes evoke Medieval flavor, although there’s not much variety in the women’s gowns. Thanks to Violence Co-Designers Libby Beyreis and Brendan Hutt, the swashbuckling battles and clashing of swords ring out loud and true in this production. The fight scenes are some of the finest moments in this play.

The cast is comprised primarily of Company members and past performers. Caty Gordon makes a spunky and stalwart Guinevere. Elizabeth MacDougald is appropriately stealthy and secretive as nasty Morgan Le Fay. Both actors not only show off their dramatic prowess but demonstrate their combat skills, as well. Joel Thompson is dauntless and dependable as King Arthur, and Jack Sharkey’s Lancelot is strapping and stouthearted. The two play nicely off Ms. Gordon, while having some fine scenes with each another. Xavier Lagunas makes a dastardly and depraved Mordred and Laura Jone Macknin offers a bit of ethereal enlightenment as Merlin. Of the several knights and ladies of the court, Jamie Redwood is excellent as both Clarissant and Sir Percival; and Troy Schaeflein stands out, both as Shade of Accolon and especially portraying a humorous Sir Kay.

 The literature based upon the legend of King Arthur and his Knights of the Round Table are many. There’s Sir Thomas Malory’s Le Morte d’Arthur, upon which T.H. White based his epic novel, The Once and Future King. Tennyson composed a narrative poem, Idylls of the King, and Howard Pyle wrote a novel for children in The Story of King Arthur and His Knights. Even Lerner & Loewe romanticized the story and set the legend to music in their play, “Camelot.” 

And now another respectable dramatization of the Arthurian Legend has emerged. The play is being capably presented this Spring in Evan M. Jackson’s premiere adaptation by Idle Muse Theatre Company. It features a talented cast, plenty of period dialogue and costumes, and a whole lot of swords with just a touch of sorcery. But the play and the production’s real strength is its au currant feminine point of view.            

Recommended

Reviewed by Colin Douglas

Presented March 23-April 23 by Idle Muse Theatre Company at The Edge Off-Broadway, 1133 W. Catalpa Ave., Chicago.

Tickets are available at the theatre box office, by calling 773-340-9438 or by going to www.IdleMuse.org.

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