The Hardwick Gazette, Wednesday, July 16, 2003
Camelot
Offers A Dream,
An Elusive Feeling Of Fantasy
THEATRE REVIEW
by June Pichel Cook
ADAMANT - Camelot in Arthurian legends is the center of King Arthur's court;
the lovely Queen Guenevere; proud Lancelot and fabled knights of the Round
Table; the holy grail of chivalrous behavior; and the magic of Merlyn and
Morgan le Fey locked in battle. But basic instincts, love, betrayal, and lust
for power overcome the virtuous court to unravel this Utopian dream.
"Camelot," as staged by director
Michael John Suchomel, tells an ageless story with humor, fun, pathos, and
pageantry, all spliced and spiced in contemporary nuances. The setting for
the QuarryWorks community production is hidden away in Adamant, a place as
fabled and mysterious as Camelot itself.
The theatrical space between actors on
this small stage and audience seating of 48 patrons is intimate. The actors'
closeness and musical artistry draw the audience quickly into magical fantasy
and emotional currents of conflict. Simple staging of painted trees and rocks,
two benches, and king's throne transitions cleverly between inside and outside
scenes. Castle walls extend into the seating area to enclose the audience.
Talented set designer Julie Mueller creates a multi-tiered setting where Merlyn
and Morgan le Fey lead us through the entanglements of Camelot from lofty
perches.
We feel the King's pain as he wrestles with
royal duty, honor, and justice versus his human frailties and love for his
queen. David Schütz as King Arthur beautifully renders "How to Handle
a Woman" to make the audience weep knowingly of Queen Guenevere and Lancelot's
love, ultimate betrayal, and Arthur's despair of losing both his Queen and
favored knight. We watch him evolve from the puzzled, naive, and frightened
man first encountering his bride-to-be who flirts and plays with him as a
cat with a mouse. We feel the King's power, holding Excalibur aloft, and know
as Arthur knows his power cannot make Camelot into his Utopia.
The Queen Guenevere, (Karen Machia), plays
her role as a coquette first lamenting her loss of maidenhood before assuming
her wifely role. She comes alive in the lusty month of May; sparks ignite
with her encountering the proud Lancelot, (Brickett Bailey). She deftly, sweetly,
and subtly controls the men in her life -her King or her lover Lancelot. Guenevere
and Lancelot's duets move us with this hopeless, eternal triangle of love.
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Enter old friend and knight Pellinore, (Jonathan
Herz), and his wonderful dog, Horrid, (Mike Boland), to lighten the stage
in down-to-earth wisdom, fun, and "doggy" antics. Horrid's expressions
mimic Pellinore's actions without upstaging the scenes. When the dreaded Mordred,
Arthur's bastard son, comes to claim his birthright in whatever way he can
and sows the seeds of discontent, we know the course is charted for the unraveling
of Camelot and the lovers. Mordred, (Malcolm Purinton), reeks of rebellious
insouciance, scoffing at virtue in his lively rendition of "The Seven
Deadly Virtues." He cajoles and tempts the sorceress Morgan le Fey to
do his bidding. All he needs is body piercings to make him complete. Erin
King plays the sorceress Morgan le Fey alluringly. Her delight in her own
power enthralls us more than stodgy Merlyn's indifference. Bob Gillespie's
Merlyn appears bored with these human encounters.
Music director Mark Violette moves the story
forward, enhancing the emotions and actions portrayed on stage with his piano
artistry. Lighting was designed by Grant Orenstein of the Flynn theater and
set construction completed by Eric Ryea.
This production of "Camelot" embraces
and immerses the audience completely. "If you are going to direct,"
Suchomel says, "you need to know what everyone is going through, working
with the set, voice and music. I like Camelot. You live with it for a long
time. In every role, I hear every part in my head. It consumes you and you
have to be able to give that enthusiasm to everyone." Without a doubt,
he conveys that enthusiasm completely to entrance his audience.
"Camelot" will be performed July
17-20 with evening performances at 7:30; also, a Saturday matinee, July 19,
opens at 1 p.m. and on Sunday, July 20, at 2 p.m. Come to Camelot early as
tickets are free on a first-come, first-served basis. Camelot is a dream,
an elusive feeling of fantasy, feeding the soul with hope for a world of virtue,
peace, justice, and harmony.