Camelot

Since it's world premiere performance at the (then) O'Keefe Centre October 1, 1960, Camelot – Lerner & Loewe's musical comedy version of the Arthurian legend – has remained a problematic show.

It tries to present a romantic story of epic proportions yet Alan Jay Lerner's desperate attempts to lighten the mood with hoary old jokes and anachronistically modern banter undermine the seriousness of the subject matter. The dialogue sounds too contemporary for the story.

Similarly, the much-loved score too often sets the wrong tone for this story, going for light-hearted musical comedy numbers instead of emphasizing the darker subtext. The one moment that cries out to be musicalized, Arthur's dramatic soliloquy at the climax of Act One, is delivered as spoken text.

A new production that solves many of these obstinate problems would be most welcome. Unfortunately the staging that opened at the Hummingbird Centre on Wednesday night remains dogmatically of product of its era.

This new script pasted together from many drafts introduces some intriguing changes: If Ever I Would Leave You is moved from its traditional place at the start of Act Two to a later scene in Guenevere's bedchamber (replacing I Loved You Once in Silence.) The song does work in its new position, but we lose its show stopping power at the top of the act where, frankly, it is badly needed.

The pacing is erratic, with no sense that director Glenn Casale has taken control of the show. The laboured comic bits tend to drag on while the more serious moments are too rushed to be effective. The final reprise of Camelot is performed at the same bouncy tempo as heard early in the show, yet it cries out for a far more sensitive and plaintive delivery: Arthur is lamenting the loss of his kingdom but clinging to the hope that the story will live on.

Michael York tries valiantly but he lacks the charisma to bring the character of King Arthur to life. He also puts odd intonations into his line readings detracting from their meaning. This will be his penultimate stop, as he is relinquishing the role and when Camelot returns to the road next fall Lou Diamond Phillips will be the once and future King.

As Queen Guenevere, Rachel York sings divinely and manages to act the role convincingly despite a script that makes her seem simplistic in the early scenes. She develops the character believably as her love for young Lancelot increases.

James Barbour was indisposed last night so his understudy played the role of Lancelot. Stuart Ambrose sang magnificently and managed to make something of the character despite the limited text and rushed direction. The scene where Lancelot brings stricken knight back to life should be the most moving and touching moment in the play, yet here it provoked laughter.

The supporting roles are performed correctly but without any inspiration. The most impressive aspect of this production is John Lacovelli's opulent scenic designs. The orchestra conducted by Craig Barna offers good support and for the most part the sound design kept the singers in the forefront.

It was 47 years ago this October that Camelot opened the O'Keefe Centre. After the run finishes on June 30, the theatre now known as the Hummingbird Centre will close for renovations. Camelot could use a similar overhaul.

 

Camelot plays at the Hummingbird Centre until Saturday June 30^th. Performances are evenings at 8 PM with a matinee Saturday at 2 PM. Tickets are available at www.ticketmaster.ca or by calling 416  872-2262.

 

 

 

 

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