Theatrical Review: “Camelot”

CAMELOT
Book and Lyrics by Alan Jay Lerner
Music by Frederick Loewe
Director/Choreographer: Carmela Guiteras Mayo
Theatrical Review by: Paul Adam Smeltz

The Shawnee Playhouse* in Shawnee on the Delaware, PA presented the Lerner and Loewe classic “Camelot” which is based upon “The Once and Future King” written by T. H. White. The play is well known for it’s songs and it’s theatrical history which includes performances by Sir Richard Burton as King Arthur. Yet, this production of “Camelot” stands alone and has earned a great deal of admirable merits of its own.

The play begins with young King Arthur (portrayed by Jimmy Helms) eagerly awaiting the arrival of the princess Guinevere (portrayed by Carly Mayo) whom he is about to wed. His youthful eagerness borders on impatience and is reminded by his teacher Merlin (portrayed by Hugh Davies who also portrayed King Pelinore later in the production) of his position and the expectations it possess. We are also reminded of Merlin’s power not only in the magical realms, but of his ability to remember the future as many remembers the past.

It is soon afterward when Arthur meets Guinevere when we, the audience, gains Merlin’s power to remember the future for the story of how their marriage as well as the kingdom Arthur creates along it all it represents are put asunder when Lancelot (portrayed by Sean Thompson) arrives at court. The frivolity of the action and music is tempered by our knowledge not yet known by the players and a slight sadness touches the heart. This foreboding does not take away from the beauty of the voices (especially that of Ms. Mayo) nor in the delight found in the dances, but it is there nevertheless.

However, the play, as written, is more of a song and dance production and doesn’t seem to have much more substance to it than that. It doesn’t go in depth on what makes Guinevere turn her affections toward Lancelot and only touches very lightly on the consequences of such an adulterous liaison. Nor does it goes into how the lovable and noble King Arthur wound up fathering a child later to become Mordred (portrayed by Andrew Deichman and has a family resemblance to Mr. Helms) whom was conceived outside of his marriage except to say he was enchanted. No kidding.

This reviewer would have liked to seen such issues explored with more thought and depth, but was reminded this play was written in a time when such considerations were not part of what musicals were designed to do. They were designed to please an audience and create box office revenue for a nearly dieing theatrical district. It was during this time many people turned to television and films for their entertainment and few sought to spend their paychecks to see a live show; especially ones which challenged them to think of things they rather not think about such as racism and social justice. Thus, musicals began to focus on the elements which pleased their audience and allowed the themes they processed to become an afterthought until eventually musicals were written without any thought or afterthought at all.

On the other hand, the sense of the foreboding I mentioned earlier does contain a depth of it’s own. It isn’t so much as it’s from the play but it is inspired by it. It could be a subconscious element woven purposely into the play or it could be just something an audience picks up on. Regardless. it caused this reviewer to wonder, if we knew what will occur in our futures, would we do well to avoid those experiences which would bring about our demise? Or, would we in doing so negate the wonders of our lives which become full when our experiences comprise of both joy and woe? In other words, if Arthur had Merlin’s ability to know the sorrow his marriage to Guinevere would bring him and his realm, would he forgo the bliss he discovered in the years they loved one another? Would any of us forgo the profound joys we’ve experienced throughout the course of our lives if we knew they would lead us to sadness?

Anyway, The Shawnee Playhouse* production of “Camelot” was an enjoyable time at the theatre. The acting and choreography was well done while the singing by many of the actors proved to be exceptional. Although the play was nearly three hours long, it seemed the pace could have been slowed down a bit. This may just reflect this reviewer’s latent desire to spend some time with some of the issues the play glosses over, but I don’t think it would hurt to linger just a little longer on them. After all, it the production did do just that in the second act during Arthur’s and Guinevere’s final goodbye which elevated the play and became a shining moment for the audience.

The cast of “Camelot” consisted of Emma Scott as Nimue and a member of the ensemble, Luke Swierczak as Sir Sagamore, Michael Demyan* as Sir Dinadan, Anthony DiMichele as Sir Lionel, Janell Manzi* as Lady Anne, Midge McClosky* as Morgan LeFey (who also serves as The Executive Director of The Shawnee Playhouse*), Kristopher Sanchez and Keven Rutzler as Tom of Warick, and Marshal Haskal* as Sir Clarius along with Rachel Hettinger*, Becky Herb, Stacey Mattern, Jillian Andres, Annie Spangler, and Ariel Hudak who were part of the ensemble.

The Shawnee Playhouse* production of “Camelot” by Lerner and Loewe was Directed and Choreographed by Carmela Guiteras Mayo as assisted by Victoria Mayo. The Music Director was Ronan Mariano* while the Set and Lighting Designer was Sean Warner. The Costume Designer was Missy Benefield*. The Company’s Technical Director was Scot Cleveland while the Company’s Stage manager was Byrdie Jacques*. The Sound Technician was Lydia Watson*, Running Crew was Stephen Wovna, Dresser was Dawn Rother, and Tech Crew was Tom Wells. The Shawnee Playhouse* producers are Ginny and Charlie Kirkwood while group Sales of their productions are handled by Mary Horn* (who also served as a member of the Box Office Staff as assisted by Becky Haskell.) The Box office staff included Barbara Ross, Christina McManus, and Melinda Clemente. The Shawnee Playhouse publicity is handled by Amy Cramer*.

This production of “Camelot” by Lerner and Loewe continues its run at The Shawnee Playhouse* in Shawnee on the Delaware, PA until August 9th. I would recommend this production as a light venture into the legend of King Arthur but would advise against any expectation of anything deeper than the play was written to be. However, one can find something within their own soul reflected in the show. The next Shawnee Playhouse* presentations will be their production of “Wit” presented July 10th - August 2nd, “Dames at Sea” presented July 24th - August 30th, and Sylvia” presented August 7th - 30th. In addition to these productions, “The Jungle Book” will be presented July 10th - August 22nd as part of their children’s theatrical offerings. Those who enjoy the Passionate Art Lover level of membership in The Forwardian Arts Society are offered a $2.00 discount off the admission fee of The Shawnee Playhouse* Productions (excluding Children Theatrical Productions and those presented by non Shawnee Production Companies). Please contact The Shawnee Playhouse* at 570-421-5093 for more information and to reserve your ticket.

Photograph provided by The Shawnee Playhouse and depicts Carly Mayo as Queen Guenevere, Jimmy Helms as King Arthur, and Sean Thompson as Sir Lancelot in their production of “CAMELOT.”

(*) denotes members of The Forwardian Arts Society in good standing and are considered Our Good Friends.