BWW Reviews: Winning Cast Stars in Beautifully Sung CAMELOT at Arts Center of Cannon County

One of the most-storied and best-loved works to be found in the canon of the American musical theater, Lerner and Loewe's Camelot is given a thoroughly entertaining and well-sung production at Woodbury's Arts Center of Cannon County. With the exquisitely beautiful Katherine Sandoval Taylor lending her incredibly nuanced voice and regal carriage to the role of Guenevere, the show (which closed March 24) seems somehow even more ethereal and dreamlike in its retelling of the Arthurian legend put to paper in T.H. White's The Once and Future King.

Given ample support by the talented ensemble surrounding her-which includes John Blankenship as Arthur, Kinsey Brewer as Lancelot, Michael Adcock as Mordred and Phil Mote as Pellinore-Taylor is definitely in good company, though even she cannot make us forget that Arthur's beloved "Ginny" is a selfish, vainglorious dilettante…who, nonetheless, looks stunning in the collection of gowns she is given to wear onstage and who, like Helen, has a visage that could launch a thousand ships or, at the very least, a thousand jousts (consider if you will "Then You May Take Me To the Fair," in which she uses her influence over the King's knights to send them off to do battle with Lancelot, whom she considers a rival for her husband's affections. Not that there's anything wrong with that!).

Camelot's score-with music by Frederick Loewe and book and lyrics by Alan Jay Lerner-is performed by director Cyndie Verbeten's large ensemble and music director Fran Gebuhr's orchestra with respect for the literature of the piece and with an obvious affection for the characters and their stories, both individual and collective. As a result, the ACCC production is entertaining, made even more accessible by the cast's commitment, with the story made more relevant by the company's lively approach.

The score, obviously, is what makes Camelot such an important part of musical theater history: It cleverly combines Loewe's lush music (which calls to mind his earlier days in operetta) and Lerner's book and lyrics to create something quite lovely and, ultimately, moving and memorable. Yet in many ways, Camelot is very old-fashioned in its structure and some of Lerner's writing seems rather arch and pretentious in the 21^st Century. Particularly striking is the scene in which Guenevere and Lancelot fall in love in front of King Arthur and all the disparate members of his court: If only they'd been more discreet, chances are they would have cuckolded the King well into their dotage.

Despite that archness, however, Camelot offers swashbuckling good fun-with plenty of contretemps among the knights of the round table to satisfy those looking for action of a sword-brandishing sort-and heartrending drama that rivals the very best of bosom-heaving, romantic fiction. The songs, particularly "If Ever I Would Leave You" and "I Loved You Once in Silence" (Guenevere and Lancelot's musical tributes to their not-so-unrequited romance), are so tremendously affecting because they lay bare the notions of love and devotion (no matter the costs), brought to near-operatic heights, with such tuneful profundity. King Arthur, on the other hand, often provides somewhat more amusing musical counterpoint with his songs "I Wonder What the King is Doing Tonight" and "What Do The Simple Folk Do?" which give the audience a glimpse into his still-adolescent view of the world, however fanciful and unrealistic that world may be in Camelot, both the locale and the musical.

Taylor's pitch-perfect portrayal of Guenevere-who is at once gracious and haughty, loving and duplicitous-is essential to the show's success as she is the apex of the triangle that includes King Arthur and Lancelot, the two men vying mightily for her affections. Taylor gives her character a believability and heart that is necessary to make her appealing to both men and, perhaps more importantly considering the economy of the theater, her audience. If the audience fails to find charm in Guenevere, the show's aims are lost, pure and simple. In the hands of a lesser actress, it could prove worrisome, but Taylor excels on that level, creating a Guenevere in whose womanly ways it is easy to lose your heart.

Taylor is wonderfully paired with Brewer as the self-absorbed Lancelot, who undergoes his own series of life-changing events during the two-and-a-half-hours-plus of the musical. In his own charming way, Brewer helps the audience move past his first off-putting displays of arrogance, walking a fine line in doing so. Yet it's vital that we (the audience "we," not the royal "we," which seems somehow redundant here) have a level of respect and a very healthy dose of affection for Lance if we are to buy into the story of romantic entanglement that we are being told. Brewer's performance of "C'est Moi" perfectly exemplifies his charm and arrogance, ensuring his place in the scheme of things unfolding onstage.

John Blankenship, as Arthur, is presented with a more challenging character to develop: Play Arthur as too much of a milquetoast and he becomes a laughable sap, present him with too much bravado and he's a cartoonish action figure. For the most part, Blankenship succeeds, although some of his soliloquies seem forced and unnatural.

As Mordred, Michael Adcock is delightfully, deliciously underhanded, a sense of wicked abandon permeating his every scene, adding a sense of diabolical whimsy to the sometimes staid proceedings. As he attacks Mordred's many critics with relish and great vigor, he displays his well-crafted versatility and complete and thorough knowledge of his character's inner workings. As a result, Adcock's "The Seven Deadly Virtues" is one of the night's musical delights.

Very nearly stealing the show, however, is Phil Mote as the stumbling, slightly daft King Pellinore. Mote very charmingly makes the most of his supporting role, imbuing in the character a sense of honor underscored by a much-needed sense of humor.

The remaining actors (including Christine Poythress) provide yeoman service throughout the production, and even if some of their performances seem uneven (which is to be expected in even the best of community Theater Productions), they are nonetheless focused and amiably delivered. Particular attention should be given to David Cummings (who plays both Sir Dinadan and Merlin with equal energy and confidence), Tim Davis as Sir Sagramore and John Martinez as Sir Lionel, the triumvirate of knights sent to their ultimate comeuppances by Guenevere (who, in retrospect, could likely hold her own with Lady Macbeth). Finally, congratulations to young James Bessant, who convincingly plays Tom of Warwick, showing off an already impressive stage presence while doing so.

Producer Darryl Deason's set is impressively conceived and convincingly rendered (the revolve on the ACCC stage opens up so many scenic possibilities there), while the lighting design by Elizabeth Deem and Donald Fann illuminates the proceedings in fine style. Finally, the costumes, assembled by a committee of artisans are colorful and sumptuously gorgeous.

- Camelot. Music by Frederick Loewe. Lyrics and book by Alan Jay Lerner. Directed by Cyndie Verbeten. Music direction by Fran Gebuhr. Choreography by Connie Bryant. Presented by the Arts Center of Cannon County, Woodbury. Through March 24. For details, visit the website at www.artscenterofcc.com or call (615) 563-2787.

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