Camelot – Now There’s a King for Ya

 

Royalists take note. There’s a musical unfolding this week at the Benedum Center that’s sure to warm the cockles of your heart.

Musical theater lovers may also want to take notice. One of the most densely packed series of singable and lovable songs by Frederick Loewe (or perhaps anyone else) you’ll ever find is getting the royal treatment from a well-honed orchestra of 27 and some of the most gorgeous voices that have crossed the Benedum stage this past six months, operas perhaps excepted.

Camelot. The word veritably rings with romance, intrigue, idealistic aspirations, villainy, humor, betrayal in a narrative that’s part legend, part fable, part fairy tale and pure magic.

Adam Kantor as King Arthur and John L. Grimsley as King Pellinore Credit: Matt Polk

The curtain rises on a young King Arthur apprehensive about the thought of his impending arranged marriage and hiding behind a tree. He’s called out by his teacher, the wizard Merlin, who lives his life backwards from the future. After encouraging the young king (Adam Kantor), he leaves him to his own devices.

Kantor makes a remarkable first impression with a well sung “I Wonder What the King Is Doing Tonight.” His unique voice is captivating and has the quality of something so resonant and aromatic it might have been aged in a whiskey barrel.

Adam Kantor as King Arthur and Kyla Stone as Guenevere Credit: Matt Polk

His introductory song is soon followed by that of his future bride Guenevere (Kyla Stone), her yin to his yang, in a sweet sounding “The Simple Joys of maidenhood.” After some amusing bantering, they soon fall for one another.

Elsewhere, Merlin (John L. Grimsley)is wondering if he mentioned two figures that would play important roles impacting Arthur’s future happiness. Seconds later, before he can find out, Nimue (Liz Leclerc), a mysterious force from another mythical realm arrives in a sea splash of flowing blue gossamer and whisks him off to the land of eternal dreams.

Grimsley is exciting to watch as the sage and eccentric wizard, his long natty beard giving him the look of an Old Testament prophet. He also plays a second role, that of an old family friend of King Arthur, named King Pellimore. Wearing what seems the same beardly prop, Grimsley doesn’t come off as genuine in the alternate role, meant to provide some comic relief and possibly a father figure for the king. His faithful dog companion, Horrid (Gus) is as shaggy as he and all the more lovable for it.

Skip forward five years since the royal couple first met, and we find Arthur and “Jenny” married and formulating an ad hoc desire to form an ideal arrangement of knighthood where might for right prevails and the Round Table of noble knights is formed.

Ben Jacoby as Lancelot and Kyla Stone as Guenevere Credit Matt Polk

One of the knights who’s heard of the new “democratic” governance of chivalry and decides to join the appealing venture is Lancelot du Lac (Ben Jacoby), a strapping youthful presence, full of religiosity, self-admiration and with considerable skill with a sword

He, Arthur and Jenny soon develop a triumvirate of mutual esteem and admiration, with some brewing carnal impulses threatening to unhinge their triangular set of relationships.

Waiting patiently for what is tentatively my favorite song, “If Ever I Should leave You,” I was somewhat deflated by Jacoby’s rendition, as I had high hopes for a blockbuster version after listening to his previous success with C’est Moi.”

Other Act One popular hits include “The Lusty Month of May” sung with light-hearted joyful mirth by Stone and Company along with some buoyant vernal choreography by Mara Newberry Greer. And who could ever forget the earnest “How to Handle a Woman,” sung so soulfully beautiful by Kantor.

Alexander Podolinski as Mordred and Adam Kantor as King Arthur Credit Matt Polk

Just when you accommodate to the excellent quality of the cast by the end of the first act, along comes an act two villain, a viper with malevolent intentions and the soul of an Iago. Alexander Podolinski is a theatrical maquette, a template for everything nefarious, and he plays his role with delicious authenticity.

One of my favorite scenes has him paired up with Morgan Le Fey (Andrea Weinzierl), his aunt who also happens to be a sorceress. In the past, she used to watch Arthur play as a boy when she bonded with him to the point of affection. However, her uncontrollable lust for sweetmeats and chocolate (in Medieval England?) forces her to conspire with Mordred to entrap Arthur.

I’ll forgo the rest of the plot to keep it hidden in the fog of your imagination except to say the ending is hopeful and inspirational as Arthur speaks some emotionally moving words to a young lad, Tom of Warwick, (Finnegan Comber), who hopes to become one of his knights. Listen for it intently.

         You have to admire the CLO’s executive director, Mark Fleischer, for his bravery in choosing such a classic musical to make his directorial debut. If “Camelot” is any indication of his abilities, CLO audiences can look forward to future work in this aspect of theater craft.

Anyone familiar with the Kennedy presidency should remember his administration’s association with Camelot, a hit musical during his time in office. As the words to the finale of the title song are written and as Kennedy so appreciated them “In short, there's simply not, a more congenial spot, for happily-ever-aftering, than here in Camelot.”

“Camelot” is at the Benedum Center in Downtown Pittsburgh through June 22. For tickets, phone 412-456-6666.