BWW Reviews: Drury Lane's CAMELOT Fizzles in a Passionless Production

Guinevere may boldly sing about the "The Lusty Month of May," but in Drury Lane's production of "Camelot," which opened on Thursday night, that most important element, lust, is nowhere to be found. And, for a show that centers around a passionate love triangle, this is not the piece of the puzzle one wants to be missing from the night's proceedings.

In fact, even though "The Lusty Month of May" is used to set the mood for the entrance of Lancelot (a strapping Travis Taylor), who is to become the main attraction of Guinevere (Christy Altomare) despite being married to King Arthur (Ken Clark), any bit of sensuality that may have been stirred up in the song falls flat the moment she and Lancelot first meet. And, guided by the unfocused direction of Alan Souza, without any sort of relationship build to indicate any growing feelings for each other (sexual or otherwise), when Lancelot first tells Guinevere of his love for her, there was an audible gasp in the audience on opening night because the profession (and the feelings being proclaimed) seemed to be plucked out of thin air and came as a shock to us all. When King Arthur laments to himself about how obvious their love is, so much so that you can see it in their eyes, the falsehood of these statements feels so blatant that it becomes hard accept much of the proceeding events onstage as sincere.

Yet, while we may not be at all invested in the characters' love affairs, there is entertainment to be found in the production. Despite his lack of chemistry with the leading lady, Taylor has a big and commanding stage presence and his performance of Lancelot is a treat. The only truly exciting musical number in the entire show (despite a score filled with little gems) comes thanks to Taylor, who gives a beautiful, full-voiced performance of "If Ever I Would Leave You."

Unfortunately, Taylor's love triangle counterparts are unable to match his level. Clark seems to be both miscast and misdirected, playing what feels more like a royal's court jester than the legendary King Arthur himself. Certainly, the contrast between Lancelot and King Arthur should be apparent, but Arthur still needs to inspire the kind of loyalty and reverie that make knights like Lancelot willing to lay down their life for him, a quality that is undetectable in Clark's performance. And, whether due to direction or Clarke himself, despite the very high stakes his character is surrounded with, Clark moves through the show as if any misfortune that comes upon him can easily be shrugged off. His performance of "How to Handle a Woman," where he is sensing the beginning stirrings of losing Guinevere (or, at least, losing his place in her affections), is another missed opportunity to bring depth to his otherwise one-dimensional Arthur: he seemed to be treating his thoughts as though they were merely musings on the weather as opposed to seeking the answer to making the woman he loves happy in their marriage. Luckily, what Clark does bring to the role is a real likability that the audience can connect with.

Yet, what is Clark's biggest asset is his onstage bride's biggest downfall. Guinevere, all at once yearning for the excitement and risk of a war erupting over her and still appreciating the goodness of her husband, is a character that could easily have audience members either ready to fight for her honor or taking selfish delight in her fickleness. Altomare's performance, however, giving no weight to any of Guinevere's dreams or actions, didn't have much personality to speak of, rousing no feelings either way.

Despite the uninspired direction and the occasionally awkward choreography, this production is quite aesthetically beautiful. With a gorgeous set by Kevin Depinet and top-rate costumes by Maggie Hofmann, the audience is easily transported into the physical world of Camelot.

The show does make for a fairly entertaining (if a bit slow) evening. But, between the lack of relationships onstage and the flippant air with which its characters seem to approach both their trials and triumphs, Drury Lane's production of "Camelot" takes what could be a moving evening and turns it into a night of light fare.

"Camelot" is currently running through January 4th at Drury Lane Theatre (100 Drury Lane, Oak Brook, IL). Tickets range from $40 - $55 (group prices are also available) and can be purchased by calling (630) 530-0111 or by visiting www.drurylane.com.

Photos Courtesy of Brett Beiner

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