‘Camelot’ a “shining moment” at Encore Musical Theatre
DEXTER, Mich.–One of the seminal moments of Camelot is when King Arthur has the enlightenment that “might is only [to be] used for right.” As the country, and more practically the world, struggles with this idea, this legendary show from 1960 doesn’t seem so out of date or moldy.
Indeed, the production of Camelot that began this weekend at The Encore Musical Theatre here features very fine acting in the principal roles of Arthur (Stephen West), Lancelot (David Moan) and Guenevere (Olivia Hernandez), and the themes of chivalry, honor, loyalty and love should be a welcome change from the daily headlines, even if the book by Alan Jay Lerner can veer into dime-store romance territory.
Any shortcomings in the book, though, are more than made up for by the score, which many a family played the grooves out of on LP records in the 1960s. Those old enough to remember know that the Kennedy years became known as “Camelot” after the President’s murder as people focused on the line of the play that speaks to “one brief shining moment.”
Based on T.H. White’s “The Once and Future King,” the story focuses on Arthur, the bachelor King who comes up, inspired by Merlin the wizard, to come up with a new kind of kingdom based on the round table and using the kingdom’s might for virtue rather than mere land grabbing. He meets the fair and younger Guenevere, and marries. French knight Lancelot shows up on the scene and quickly becomes Arthur’s trusted protégé. But he and Guenevere fall in love, making for awkward scenes, tempted kisses and fraught breaches of loyalty.
It’s the songs that star: “If Ever I would Leave You” (Lancelot); the title song (Arthur and Guenevere); “The Lusty Month of May” (Guenevere and Ensemble), “What Do The Simple Folk Do” (Arthur and Guenevere).
West, who often stars in the summer production here (South Pacific, Fiddler on the Roof to name two) made his career on the top opera stages around the world. As Arthur, Mr. West is extremely well cast and delivers the gravitas and stage presence demanded of Arthur. David Moan as Lancelot may not exude “swashbuckler,” but his acting ability and lovely vocals more than deliver on being Guenevere’s love interest, as well as the knight charged with transcendent powers. Ms. Hernandez manages a nice balance between the “lusty” queen, and the queen who also knows her place and responsibilities. Her vocals, which seem technically rooted in another time (30’s and 40s) feel especially appropriate for this time-tested story and play.
Tyler Lynch as the reptilian illegitimate son of Arthur, Mordred, is particularly slimy and good. Sebastian Gerstner as Sir Dinidan and Daniel A Helmer as Sir Lionel handle both their parts and swordplay very well. Encore’s ensembles are especially strong these days, and Camelot is no exception, featuring strong turns by Luciana Piazza, Maika Van Oosterhout, Jim Walke, Tim Brayman and the entire group.
Encore artistic head Dan Cooney directed the show. Tyler Driskill is music director and leads a seven-piece orchestra that does perfect justice to the Lerner and Lowe score. The set design by Sarah Tanner made excellent use of the Encore stage, a two-level design that worked well to convey castle interiors and exteriors. Daniel C. Walker’s light design was especially good at bathing the set in what feels like natural light either from sunshine or the candles of the time. Costume designer Sharon Larkey Urick shines in her dressing of the knights and ladies of the court.
Camelot gets its timelessness from the Arthurian legend and the great tunes by Lerner and Lowe, a score than is said to have inspired no less a contemporary talent as Lin Manuel Miranda, creator of Hamilton. There is much to be enjoyed here in the Encore’s production, which wonderfully captures that timeless and enduring score that has inspired so many.