The cast of Camelot

Hard act to follow

Coming to Buffalo less than a week after the death of Robert Goulet (the original Lancelot and the frequent King Arthur) it would be difficult for any production not to escape the deserved nostalgia and instant comparison of those roles with one of the world’s finest baritones.  Suffice it to say that Lou Diamond Phillips as the beleaguered King of England does yeoman’s service as an actor (and energetic dancer in “What Do the Simple Folk Do?”) but cannot use even Merlin’s magic (Eric Anderson’s performance is commendable) to keep his pitch on even keel and fill the sustained legato passages with anything more than the thinnest of tone.

In another corner of the Lerner & Lowe’s fabled love triangle, Matt Bogart dashes through the role of Lancelot with a climax-shy but credible voice and manages his French accent without evoking any risk of snickers from Monty Python fans (last season’s Spamalot, cross-reference below, was an all around triumph).  As the double-edged love interest, Rachel de Benedet infuses her interpretation of Guenevere with a marvellous sense of comic timing (her unquenchable desire for lust and blood is totally convincing) and lifts her vocal contributions from an uncertain beginning (“Simple Joys of Maidenhood”) to the emotionally filled and melodically rich Act II opener “Before I Gaze at You Again.”

Melina Kalomas’ Nimue demands should net her a larger assignment at the next casting call; Shannon Stoeke manages to render Mordred as truly nasty (“The Seven Deadly Virtues”) if not totally despicable; Time Winters serves up a delectable Pellinore whose unflinching desire to solve disputes with a sword will cheer Republicans everywhere and Tavis Danz's enthusiasm and boyish good looks will find their way into many other parts as he learns the value of “less is more.”

The ensemble made the most of their partying scenes as they sailed through Dan Mojica’s straightforward choreography and Sean Boyd’s well-constructed and executed fight scenes.  Conductor/orchestrator Craig Barna kept the proceedings moving forward and only approached “train-wreck territory” as the chorus spent too much time looking for their Queen (“Guenevere”) than observing the beat.

John Iacovelli’s touring-smart sets flew in and out seemingly effortlessly, with Tom Ruzika’s lighting plot the victim of new venue, opening night lags.  Apart from Lancelot’s undergear looking more like a James Dean T-shirt than garments fit for a Knight of the Round Table, Marcy Froehlich’s costumes were a constant pleasure with just the right amount of glistening skin and shimmering fabric to keep the eye as engaged as the ear.

The moralizing tale (“words” not “arms” to settle disputes) couldn’t come at a better time, but the chance of those who could make a world of difference by having the courage of conviction rather than the clatter of hawks will keep Camelot a perennial idea of make-believe.

Director	Glenn Casale
Writers	Alan Jay Lerner (book and lyrics) and Frederick Loewe (music)
Cast	Lou Diamond Phillips, Matt Bogart, Rachel de Benedet, Melina Kalomas, Shannon Stoeke, Time Winters, Eric Anderson
Choreographer	Dan Mojica
Fight Director	Sean Boyd
Set Designer	John Iacovelli
Lighting Director	Tom Ruzika
Costume Designer	Marcy Froehlich
Conductor/Orchestrator	Craig Barna

Cross Reference: Spamalot

More Shea's Performing Arts Center