Muny's 2009 Season Continues with CAMELOT
Camelot was the first show I ever saw at the Muny. A friend, and Arthurian scholar, invited my wife and I back in 1983. The opportunity to cover the Muny's current production provided me with a chance to return the favor. I can't say that I remember much about the 1983 show, only that it was oppressively hot and humid, which is something we've been able to avoid so far this summer. But, I do recall that I enjoyed the show then, and even though it's a bit creaky in spots, I still find it entertaining, if overlong.
T.H. White's classic book, The Once and Future King, is the basis of Alan Jay Lerner's script and lyrics, but the real focus of this musical adaptation is the romantic triangle that forms between King Arthur, Lady Guenevere and Sir Lancelot. Not only does Arthur have to deal with the heartbreak of losing his wife to Lancelot, and eventually the convent, but he also has to contend with a war being waged against Camelot by an army commanded by his illegitimate son, Mordred.
Jeff McCarthy, Jenny Powers and Lewis Cleale do fine work as Arthur, Guenevere, and Lancelot, respectively. Powers has a strong voice that suits the lush, romantic melodies of Frederick Loewe, especially "I Loved You Once in Silence", which finds her revealing the depth of her feelings to Lancelot. Cleale is sharp on the ego-driven number, "C'est Moi", but it's the yearning of "If Ever I Would Leave You" that really impresses. McCarthy is an affable presence, and a perfectly charming Arthur, filled with plenty of self-doubt and self-deprecation.
Outstanding support is provided by: Joneal Joplin as Merlin, although here the part is edited down to a cameo; Fred Applegate as the warm and amusing King Pellinore; and Allen Read as the vengeance-seeking Mordred.
Stone Widney's direction is generally solid, and an attempt has been made to speed up the transitions between scenes. But, the pace is still rather stately, even with some of the minor cuts that have occurred to the show. Steve Gilliam's scenic design colorfully recreates the countryside, while also capitalizing on the "triangle" theme. David Lander's lighting suffers from some abrupt and tardy cues that fail to properly capture some of the more dramatic moments. Gemze De Lappe's choreography adds a bit of life to the proceedings, and Sam Davis contributes nicely as musical director.
The Muny's regal production of Camelot continues through August 2, 2009.
