[Free Lance-Star] Theater Review: ‘Camelot’ at Riverside: a tale of two leaders
By GAIL CHOOCHAN FOR THE FREE LANCE-STAR
Lerner and Loewe’s “Camelot” is the kind of show audiences can get lost in—a sweeping tale of knights and romance in a faraway land—all set to a gorgeous score. However, Riverside Center for the Performing Arts brings this mythical story closer to home.
Riverside reimagines the beloved musical with an ambitious undertaking that marries the past with the present. “Camelot,” spearheaded by producing artistic director Patrick A’Hearn, connects the Arthurian legend with the Kennedy administration often referred to as the Camelot era. The musical was a favorite of President John F. Kennedy, and his wife, Jackie, cemented the association after his death.
In Frank Foster’s scenic design, the White House—in lieu of a castle—can be seen gleaming far off in the distance behind JFK’s flickering eternal flame, and instead of a forest, cherry blossom trees hang prettily over the stage for a timely local touch.
Based on T.H. White’s “The Once and Future King,” the musical offered at Riverside is a 2007 streamlined version of “Camelot,” which focuses more on the romantic entanglements (no Merlin or silly King Pellinore here). Christopher Sanders as King Arthur, Quinn Vogt–Welch as Guenevere and Travis Keith Battle as Sir Lancelot lead this small energetic cast of 13.
Sanders commands the stage as the idealistic Arthur, who unites the lands and forms the knights of the roundtable. He successfully portrays Arthur’s transformation from a sweet, unassured king to a strong leader as he struggles with his great love for Guenevere and Lancelot, in addition to a wayward power-hungry son Mordred (played by Michael Goltry, who really relished his role).
In his Riverside début, Battle makes a delightful Lancelot, from the moment the Frenchman appears onstage in the hilarious self-loving song “C’est Moi.” He’s all bravado and swagger in the beginning, but Battle slowly reveals Lancelot’s more emotional side when he can’t hold back his feelings for Guenevere any longer.
And it’s lovely to see the heavenly voiced Vogt–Welch back on the Riverside stage, after performances in “My Fair Lady” and “Phantom.” She plays the role of the emotionally torn Guenevere to perfection, and shares wonderful chemistry with the two men vying for the queen’s love.
Lerner and Loewe, who also teamed up on “My Fair Lady,” have created another show filled with memorable musical numbers, such as “I Wonder What the King is Doing Tonight,” “The Lusty Month of May” and “What Do the Simple Folk Do?” Along with these joyful tunes are swoon-worthy love songs “Before I Gaze at You Again” and “If Ever I Would Leave You?” Conductor Carson Eubank and the seven-piece orchestra wonderfully perform these rich and soaring melodies.
While the story remains grounded in medieval times, the Kennedy dynasty looms large over this production, with an overly generous amount of historical and family footage. At times, there can be a lot going onstage—whether it be design elements or background dancing—and it would be nice to let these scenes breathe, instead of diverting attention away from performers and the moment.
This streamlined production of “Camelot” could benefit from a little more streamlining, but this absorbing tale of love, friendship and betrayal—boosted by terrific performances—is worthy of a trip to the castle.
If You Go
Lerner & Loewe’s "Camelot," Riverside Center for the Performing Arts, 95 Riverside Parkway, Fredericksburg. Wednesdays–Sundays through May 8. $75 for adult dinner and show; discounts available for seniors, children and show-only. 540/370-4300; riversidedt.com