Camelot's music shines

by Matthew Falduto

ICCT - The first time I saw Camelot, I was disappointed. Growing up, I was hooked on stories of knights and damsels in distress. What better stories were there than those of King Arthur and the Knights of the Round Table? So many years ago when I had a chance to see Camelot, where my favorite stories could be told on stage with singing (singing!)....well, I figured nothing could be better. But I was so disappointed. Lerner and Loewe's Camelot has wonderful music, but they gutted the story. They added uncomfortable humor, making Lancelot a walking joke and Arthur a nervous nellie. I will be honest, it's been over twenty years years since I read The Once and Future King by T.H. White, which is the basis for this musical. So I cannot say for sure who is to place blame for so changing these beloved characters. The only character that benefits from the new interpretation is Guenevere, who is a fully rounded girl eager to experience all the drama of that comes with evil brigands and heroic knights. Her character is the only one that undergoes significant change by the end of the show, becoming wiser if sadder as all the drama she hoped for left her longing for a simpler life. Alas, Arthur is reduced to a painfully uncertain man who cannot make a decision without someone else, whether it is Merlin or later on Guenevere, validating his ideas. Lancelot, the model of a perfect knight whose one fatal flaw was to fall in love with the wrong woman, has been transformed into an arrogant know-it-all who is all the more annoying because he truly is as good as he thinks he is. These are not the characters from the Arthurian legends.

So it was with trepidation that I went to ICCT's Camelot. I was pleasantly surprised. Perhaps knowing ahead of time that the story was not the Arthurian legend that I so loved made it easier to enjoy the show. There are interesting characters in this show. Jeremy Ping's King Arthur is at times terribly shy, yet powerfully earnest in his belief that right should rule might. He desperately wants a civilized world. At the end when he is torn by his belief in a civilized society and his love for the two most important people in his life, his wife and his best friend, Ping's pained face shows us clearly how torn he is. Ping expertly dug past some of the silliness of the character, allowing us to feel for his plight. It doesn't hurt that he is an extremely likable with a strong singing voice. He uses his voice particularly well in the title song.

Rob Keech's Lancelot is effective. It's clear from his portrayal that Lancelot knows he is arrogant. "I'm irritating," he says. "All fanatics are bores." However, while his self inflating comments certainly come across as bragging, it's also obvious that Lancelot is simply being honest, not attempting to offend. This honesty and self awareness are the characteristics that save the character and Keech does a good job showing this. Unfortunately, the French accent he uses is distracting and adds unintentional (I hope) humor to the story.

The true stand out of the show was Kate C. Thompson, who portrays Guenevere. Thompson plays each note of Guenevere's character perfectly. In the beginning, she is playful with hopelessly immature fantasies. By the end, we see a sad, wise woman who fantasies came painfully true. Thompson's voice shines in every song, most notably the heartbreaking "Before I Gaze at You Again." She is the performer who makes you run to the program bios to see what she might be doing next. (She performs locally as a blues and rock vocalist, the bio informs us, but cruelly doesn't mention where!)

Other favorites included scene stealing Richard Paulus as Pellinore and Brittney Swenson as Morgan Le Fey. Swenson has to handle one of the most ridiculous moments in the show when Mordred (Ben Ward) tempts her to imprison Arthur using her love of... candy. While the idea that this incredibly powerful witch could be so completely undone by a sweet tooth took one right out of the show, Swenson's willingness to wade into the muck and lift it up with a passionate and gutsy performance must be commended.

Also fun to watch was Stephen J. Polchert's crusty old Merlin. He disappears quite early in the show, which was a shame as Polchert (who erroneously claims in his bio that he has no talent) brings a wonderful energy to the stage and has an excellent and interesting rapport with Ping's Arthur.

The set was simple and well done with a beautiful backdrop of a rolling hills taking us directly to medieval Britain. The only set pieces that didn't work were the thrones, two wooden chairs with some fabric thrown over the back of them and a pillow to sit on. Please, paint them at least! It was hard to believe the pageantry of Camelot with unfinished wooden thrones for the King and Queen.

The costumes were excellent. Much credit must to go costume designer Nika Niehaus who is a clearly a wizard with needle and thread. Finally, I cannot end this review without mentioning the incredible orchestra. They were simply fabulous. The strength of this show is not the story, but rather the music. The orchestra was more than up to the task. I am always amazed at the amount of talent we have in our community.

Would I recommend this show? Absolutely. The music is wonderful and the performances are engaging. It's always a treat to see our local artists performing in the historic Englert Theatre. So go! Let the orchestra's music wash over you as you are transported back to a time when knights rescued maidens and strong arms were used to make the world a better place.

(Photos courtesy of Carol Grow Johnk.)

Matthew has a Bachelor's degree in English from the University of Iowa. He has directed, acted in, and produced theater in the Iowa City area for over ten years. He has worked with the Iowa City Community Theatre, City Circle and Dreamwell, of which he is a founder. Two of his plays have been produced in the Iowa City area. In another brief life, he also worked as a technical writer.