Camelot

Marissa McGowan, the understudy, went on for the leading female role—that of Guenevere—--at the performance of Camelot I attended. And it's been many years since I've been so wonderfully impressed by an understudy. Fresh, youthful, pretty, moving with great natural grace, and blessed with a sweet, warm voice, she made an irresistible Guenevere. (The last time I can recall being so taken with the performance of an understudy or standby was when I caught Karen Mason go on in the starring role of Sunset Boulevard on Broadway). McGowen's Guenevere seemed filled with light. And one had no trouble imagining her capturing the hearts of both King Arthur (Bradley Dean) and Lancelot (Maxime de Toledo). Dean was kindly, likeable, and all too human. I enjoyed his work, but I would have preferred him to have a bit more regal authority, and a bit crisper enunciation. He seemed just a tad contemporary. (Richard Burton's performance of the songs, as preserved on the original cast album, remain the standard-setter.) Toledo was a most convincing Lancelot. Adam Shonkwiler couldn't have been more perfect as the deliciously ambitious, evil Mordred. It's a small role, but he made every gleaming moment count.

Overall, this is a most beguiling production. Michael Schweikardt's scenic design is utterly winning. The first image we see±a medieval tapestry/scrim, bracketed by a huge, leafless tree that has seen better days—sets the right tone before even a note of music is heard. And what glorious music it is! Lerner and Loewe's score offers plenty of rewards: "I Wonder What the King is Doing Tonight?," "What Do the Simple Folk Do?" and of course the title song. Director Rob Ruggiero hits all of the right emotional buttons. He finds all the laughs that are to be found, and all of the drama; and by the end, you'll be moved to tears. At least I was—which surprised me, because I'm so familiar with the show. But this is a very effective production. Incidentally, the charm of the Goodspeed setting—the 1870s opera house, overlooking the river—seems perfect for this fairy tale story.

Camelot remains a big, ambitious musical. Not quite as perfectly constructed as Lerner and Loewe's masterpiece, My Fair Lady, but rich with song and rich with emotion in its own right. And well worth a trip to East Haddam.

Camelot plays through September 19.

(Pictured: Maxime de Toledo and Bradley Dean)

Chip Deffaa
Cabaret Scenes
August 12, 2009
www.cabaretscenes.org