Lyric Stage's "Camelot": Royalty Revitalized

Maritza Bostic, Jared Troilo , Ed Hoopman & the Cast of "Camelot"
(photo: Mark S. Howard)

Lyric Stage's current production of the musical Camelot is a reminder of what a fascinating history the original Broadway production had. Anticipation had been high among critics and the general public back in 1960 for Camelot, the next musical to be presented by the creative team behind My Fair Lady. Once again, the book and lyrics were to be by Alan Jay Lerner, with music by Frederick Loewe, to be directed by Moss Hart. It was to be based on the story of King Arthur and his Round Table in three of the four books in The Once and Future King series by T.H. White (the rights to the first having been obtained by Walt Disney for his animated Sword and the Stone about Arthur’s youth with Merlin). After almost two years of writing and rewriting and painfully troubled pre-Broadway tryouts in Toronto and here in Boston, with Loewe recuperating from a massive coronary and Hart also ailing, Lerner took over as director. The advance word wasn’t good, and the show finally opened in New York to a fairly tepid reception among critics and the public. The cast album had been rushed to record stores before the New York opening, in hopes of increasing demand for tickets (famously having musical numbers recorded out of their final order). Just as things were looking dim, Lerner and Loewe were offered a tribute on Ed Sullivan’s televised variety show, so they chose twenty minutes of songs from Camelot, which enraptured the public at last. In its fourth month, the show increased sales, ultimately lasting two years on Broadway.

The show survived, despite the qualms Loewe expressed about the subject of cuckoldry and the troublesome denouement (the “Guinevere” song), which described all the action taking place off-stage, a curious choice. The second act continued to strike audiences as by far the weaker act, until history intervened. After President Kennedy was killed, his widow Jacqueline revealed that he had frequently listened to the cast album; she likened his loss to the feelings Arthur expressed at the dissolution of his round table and the ideal of Camelot. Suddenly the ending of the show had unexpected resonance for the audiences of the day. Those of a certain vintage will always make the internal connection, but it isn‘t necessary to feel the myth and its message. The book of this current production was adapted by David Lee, with new orchestrations by Steve Orich, in a fairly successful attempt to solve the second act's problems, primarily with the use of the stage technique used years ago by Paul Sills in his
Story Theater, with the story told by cast members, lending the show more coherence, necessary for true appreciation of the work.

Ed Hoopman & the Cast of "Camelot"
(photo: Mark S. Howard)

What is also necessary is a trio of singing actors that can truly deliver on its magically wondrous score. This production surely will do that, despite some apparent press opening nerves that will no doubt dissipate with future performances, given the cast's past individual triumphs. Under the direction of Spiro Veloudos, whose clever touches are everywhere, King Arthur (Ed Hoopman), for example, must be a bit out of touch with his times (an idealist in a bellicose era), and gentle as well (“the way to handle a woman is to love her, simply love her, merely love her, love her, love her”). Hoopman delivers as usual, with a hitherto little-known singing voice. Guinevere (Maritza Bostic) must be full of youthful spirits (“shan’t I be young before I’m old? Shall kith not kill their kin for me?”) and eventual remorse (“now there’s twice as much grief, twice the strain for us, twice the despair, twice the pain for us, as we had known before”). She too delivers, particularly poignant in a difficult role; she and Hoopman are charming together in their duet, “What Do the Simple Folk Do?”. The knight in shining armor, Lancelot (Jared Troilo), requires a commanding actor with a large baritone voice, so winning that he can get away with lyrics such as “had I been made the partner of Eve, I’d be in Eden still”, (with such self-flaunted traits as virtue, nobility, iron will, godliness, purity, boldness, self-restraint, but seemingly not modesty) and finally steadfastness. Troilo was especially memorable delivering the lines that clarified his character's narcissism . Mordred (by Rory Boyd), Sir Lionel (Davron S. Monroe), Sir Dinadan (Brad Foster Reinking), Sir Sagramore (Jeff Marcus) and Dap (Garrett Inman) were all truly outstanding in a small cast that included three Ladies (Jordan Clark, Margarita Damaris Martinez and Kira Troilo).

The technical team was outstanding, from the Music Direction by Catherine Stornetta, to the spirited Choreography by Rachel Bertone, atmospheric Scenic Design by Shelley Barish (with a set that would be at home in Into the Woods), appealing Costume Design by Elisabetta Polito, and well coordinated Lighting Design by Karen Perlow and Sound Design by Elizabeth Cahill.

What this production becomes in these capable hands is a Camelot that deserves to be seen by any serious musical theater buff. Though it doesn't completely overcome those second act flaws, it's a huge improvement on the original play, and should satisfy lovers of that score.  The essence of the Arthurian myth is idealism. When a small boy, Tom of Warwick (Inman again) appears in the final scene wishing to become a knight of the Round Table, Arthur realizes this means his vision still lives and he hasn’t failed; “men die, but an idea doesn’t”. The topicality of wishing in 2017 for a purer administration should be clear without belaboring the obvious. And thus naturally come the last words of the show: “Don’t let it be forgot that once there was a spot for one brief shining moment that was known as Camelot”.

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