Camelot

Camelot is a show that has received consistent rave reviews since its introduction in 1960 when it opened with a cast of acting gurus including Richard Burton, Julie Andrews and Roddy McDowell. Furthermore, the show was actually noted in the history books after being associated with the Kennedy administration. I mention this because deciding to produce it, given its famously daunting history, is a significant risk if it is not pulled off flawlessly. With this in mind, I was excited to see the Olney Theater's production of Camelot--playing now through January 3rd--but I certainly didn't have high expectations. Much to my surprise and satisfaction, I was pleased to see that the Olney's production was not only done well, it was genuinely brilliant!

There were a number of elements that made this show a triumph and one of them I need to mention straight off because it is rarely something that gets a lot of credit: the costumes. Costume Designer Eric Propp did a phenomenal job setting the scene with an array of designs, fabrics and colors that was dizzying, though in a good way. While I've always thought that medieval dress was beautiful, Propp successfully combined old world touches like fur lining with modern elements like iridescent fabric that hinted at the magic inherent within the show. If the actors themselves hadn't done such an outstanding job, they might have been overshadowed by their clothes.

That brings me to my next point: the cast was incredible. Lately I've noticed that leading men and ladies have a problem fully capturing the imagination of the audience. Granted, they have a lot more lines and stage cues than their minor counterparts, but I've never considered that an acceptable excuse. I was thus thrilled to see Todd Alan Johnson as King Arthur literally mesmerize the audience with a heart-pounding scene at the end of the second act. In this particular scene, Arthur is grappling with the knowledge of Guenevere and Lancelot's secret love; Johnson's delivery brought to mind a well-executed Hamlet's soliloquy. The initial debilitating torment, followed by unadulterated rage, and at last depressed acceptance of Arthur was played out fully in Johnson's words, in his pained facial contortions, and with his strong physical acting. He was a force to be reckoned with.

While every character (with the exception of the odd knight) delivered their musical performance well, two players stood out for their captivatingly beautiful voices. Patricia Hurley as Guenevere started out on uncertain footing with "The Simple Joys of Maidenhood," but as she realized her comfort zone her voice transformed into that of a cooing dove. I kept waiting for her voice to crack at some point in the show (there are a lot of high notes), but it got stronger and stronger as she moved through each scene. Hurley is definitely someone you'll want to watch in the future for she seems destined to do great things on the stage.

In addition to Guenevere, the voice of one other character reigned supreme in a cast of talented performers. Perhaps it is no surprise that that character is Lancelot, played by Aaron Ramey. I was doubtful of Ramey's abilities initially when he sang "C'est Moi," for he seemed to be relying more on humor and physical acting that truly making his voice shine. My preliminary suspicions however were immediately dispelled in the second act. The song, "If Ever I Would Leave You," which is a solo by Lancelot, has often been described as "haunting" by the press. Personally, although I agreed that it was beautiful, I never really considered it as such. I use the past tense because before Olney's performance, I had never seen Ramey's performance of the song. The way his voice soared, roaring outward into the audience and filling every crevice and cranny of the theater was astounding and for the first time I agree that the term "haunting" is an apt description.

It's not unusual for a minor character to steal the show in a production, particularly when the leads simply aren't up to snuff. What was amazing about Evan Casey as Mordred was that he stood out, even among an endlessly talented cast. He had an excellent voice, but what struck me about his performance was his physicality. Between his sly raising of a conspiratorial eyebrow at the audience to his flamboyant dancing about the stage, his physical acting set him high above his fellow players on the stage.

Four out of five stars for a performance of Camelot that certainly lives up to the original show's popular reputation.