By ALAN SMASON, WYES-TV Theatre Critic (“Steppin’ Out”)
There are times when a local production company attempts to put on a treasured musical theatre piece and it collapses under the weight of the requirements of the work. It’s easy to make excuses and state the budget just couldn’t accommodate a full-blown rendering that might be seen on, say, a Broadway stage. Most local theatre folk and critics will understand and find things in which they can take delight.
But there are times when a theatre company holds the work up to the highest of standards and tenders a version that is not only of surprising quality, but which could easily be compared to original or revival casts on the Big White Way.
Such was the recent production of Pittsburgh Civic Light Opera’s Camelot, the Lerner and Loewe classic about the Arthurian legend inspired by T. H. White’s “The Once and Future King .” With sumptuous live musical accompaniment and impressive vocals from the stars and ensemble, this was a Camelot that was truly inspirational.
Leading the Pittsburgh CLO cast was Adam Kantor as King Arthur, a successful Broadway actor most memorably seen in Itamar Moses’ and David Yazbek’s The Band’s Visit. Blessed with a good and pleasant voice, Kantor channeled the British king with a very solid and centered performance.
Shortly after the overture and a short opening number, we moved back in time to a point eight years earlier. As the king is anticipating the arrival of his future queen, Guenevere (Kyla Stone), Kantor professed his unease in the solo “I Wonder What the King Is Doing Tonight.” Almost immediately, he was surprised by Guenevere running away from her company and when asked his name, he identified himself as “Wort,” the nickname of his youth.
Eventually, the true identity of the king emerges and he and his queen began to bond in the song “Camelot.” While the two did not share a duet in that scene, Kantor and Stone actually carried on a lovely musical conversation in the amusing “What Do the Simple Folk Do” in Act Two.
John Grimsley took on dual roles in the production: that of Merlyn and King Pellinore. As Merlin, the sorcerer who lives backwards in time and who transformed Arthur into various animals so as to give him a view of the natural world, Grmisley was unrecognizable in a large, flowing white beard. Following the scene in which he was captured by Nimué, the Lady of the Lake, Grimsley returned to the stage as Pellinore with a canine co-star who played Horrid (Gus) opporsite him.
Grimsley and Gus stole quite a number of scenes and it was director Mark Fleischer’s intent to do just that. In the absence of Merlin, Pellinore became Arthur’s staunchest defender with the possible exception of his most courageous of knights of the Round Table, Sir Lancelot du Lac (Ben Jacoby) introduced in the egotistical opus “C’est Moi.”
The unrequited and unrealized love affair between Lancelot and Guenevere became quite pronounced and was a primary driving force in the plot in Act Two. Lancelot’s “If Ever I would Leave You” was a solid rendering by Jacoby. Stone’s “I Loved You Once in Silence” was her musical answer and lovingly presented.
Alexander Podolinski established his character of the bastard son of Arthur and a would-be rival for his throne in “The Seven Deadly Virtues,” but his character truly blossomed in “Fie on Goodness,” a wonderfully choreographed scene that depicted the deep division among the ranks of the knights of the Round Table. Mara Newsbery Greer
As Nimué, Liz Leclerc had a memorable song in “Follow Me” in Act One, while Andrea Weinzieri aided Modred’s attempted plot as Morgan Le Fey, when she captured Arthur in her enchanted forest in order to permit Guenevere and Lancelot to meet in the royal bedchambers.
Original costumes by Jennifer Moeller and additional costumes by Claudia Brownlee were quite extraordinary. The lighting designs of Paul Miller were also masterfully rendered.
Robert Neumeyer’s music direction was superb and he served as the conductor of an impressive Pittsburgh CLO Orchestra of 19 players. George Hoydich was the musical coordinator.
Camelot by Alan Jay Lerner and Frederick Loewe was directed by Mark Fleischer and played at the Bendedum Center in Pittsburgh from June 17 to 22.
