MLOC Productions
Phoenix Theatre, Elwood
Reviewed on November 4, 2011
The lyricist and librettist, Alan Jay Lerner, with composer, Frederick Loewe, created a long list of hit shows including Brigadoon, Gigi, and Paint Your Wagon. Together, their musical collaboration lasted for more than 30 memorable years.
In 1956 the pair scored perhaps their biggest Broadway success to date, tunefully splicing dialogue lifted from George Bernard Shaw’s best – known play, Pygmalion, with fifteen original songs. The story of a humble flower girl and the Svengali – like teacher who guides her into English high society, My Fair Lady played for 2,717 performances before closing in 1962.
Still in professional and community theatre revival 55 years on, Professor Henry Higgins, Eliza and Alfred Doolittle will forever be linked with the actors who originated these iconic roles: Rex Harrison, Julie Andrews and Stanley Holloway.
Lerner and Loewe’s next major outing was a highly ambitious, if not a slightly curious choice. An adaptation of T.H. White’s novel, The Once and Future King, the legend of the Knights of the Round Table was to become known as Camelot.
In their hands and under direction from Moss Hart, the multi – faceted tale explored themes of sorcery, intrigue, chivalry, romance and betrayal. What is interesting is that none of the main characters’ motives are strictly black or white. Various shades of grey imbue their emotions, decision – making and judgement.
As the three leads, British actor, Richard Burton, was cast as Arthur, Julie Andrews (fresh from My Fair Lady) played Queen Guenevere, and the Canadian, Robert Goulet made his American debut as Lancelot. There is a famous clip from Rick McKay’s brilliant documentary, Broadway: The Golden Age, where Burton, an unknown quantity in musical theatre, questioned his suitability for the role. Without his constant belief and support in the project, however, Camelot may never have got off the ground.
Whilst in development, there was as much drama behind the scenes as in rehearsal.
Lerner’s wife left him, and he was later hospitalised with a bleeding ulcer. Hart meanwhile suffered a heart attack, and for a time, the show was without a director.
Still, audience expectations were high.
But, following an out of town preview in Toronto, critical reviews were somewhat mixed. On this basis, Lerner and Loewe made massive cuts to the show. Trimming back dialogue and abandoning several key songs, the duo reduced its running time by half.
Eventually finding its way to New York City, Camelot nevertheless generated the largest ticket sales advance at that time in Broadway box office history. It also became a personal favourite of then President, John F Kennedy. As a result, his administration is often associated by name with the show.
With a repertory team to draw on, MLOC Productions are known for choosing both traditional and adventurous family friendly fare. Their shows always challenge and strengthen crew members’ abilities, keeping focus on solid production values and audience entertainment throughout. Camelot also allows MLOC’s stock cast of character actors, to really sink their teeth into each and every role. This is theatre by the people for the people.
Director, Judy Sullivan’s previous show for MLOC in late 2009 was the Victorian premiere of Bing Crosby’s screen classic, White Christmas. In 2011, along with musical director, Danny Forward, assistant director, Sally Fleming, and choreographer, Merilyn Young, this experienced quartet put a very special stamp on the fable of King Arthur.
Visually, MLOC’s newest production is a feast for the senses.
More often than not, economy often limits the more elaborate outfits to principle players only. In this instance however, Trudy Scott and Margot Sephton have styled an ethereal medieval design across the board.
It was exciting to see tailored, multiple changes of costume used for every member of the cast. No expense was spared with bright colours and plush fabrics, adding to the show’s regal tapestry.
From the auditorium to the main stage itself, every inch of Elwood’s Phoenix Theatre’s space was used to clever dramatic effect. Not only did cast members perform on multiple levels, numerous set and scenery changes in both acts kept the action tight, flowing and always seamless.
Choreographed set pieces such as “Then You May Take Me To The Fair”, “The Lusty Month of May”, “Fire on Goodness”, “Guenevere” and particularly “The Jousts” (with wry reference to My Fair Lady’s Ascot Gavotte) were highlights.
Lighting effects by Michael Richardson allow an easy transition from scene to scene. Particularly striking was Merlin (whimsically played by Geoff Earle), making his first magical appearance in an apparent puff of smoke.
In the pivotal role of King Arthur, David Higgins plays the chosen leader by default projecting excitable spontaneity, emotional indecision, and bumbling gusto. His signing has a strong sprechsang quality, used to great effect in “I Wonder What The King Is Doing Tonight” and “How To Handle A Woman”.
Peter Philips is a fun Lancelot. With dashing matinee idol looks, he injects the part with outlandish vanity, pretense and wit. Think Prince Charming (from Stephen Sondheim’s Into The Woods), and the identically – named character voiced by Rupert Everett in Shrek 2. With a fine baritone voice, Philips’ musical highlights include “C’est Moi” and “If Ever I Would Leave You”.
As Guenevere (or her moniker, Mrs. Queen), Susie McCann projects a wholesome charm. Surely influenced by Julie Andrews, her rendering of “What Do The Simple Folk Do?” is a delight. McCann shares a genuine chemistry with both of her leading men, adding to the character’s romantic tug of the heart.
No show would be complete without a requisite pair of villains. Playing their parts to the hilt, Phil Lam as Mordred (determined to break up the Round Table) and Karen Shnider (as the sweet toothed sorceress) Morgan Le Fay, are the ideal team you love to hate.
Rounding out the main players, Paul Boyd (as Sir Lionel) Colin Prosser (as Sir Sagramore) Russell Waters (as Sir Dinadan), Bill Irvine (as Pellinore), and Sue Robinson (as Nimue) add to the depth of character understanding necessary for this show to work.
If you love the golden age of musicals, MLOC’s Camelot is playing until Saturday November 12.
Image Source: Playbill (Pittsburgh Public Theater Production)