The tale surrounding Camelot is timeless, whereby we watch the rise and fall of a King and Queen at the very hands of what binds Camelot and them together: love and honour. Based on T.S. White’s variation of Arthur and his knights of the round table, The Once and Future King, Camelot was originally staged on Broadway, prior to John F Kennedy’s election. Coincidently, the Kennedy White House has become synonymous with Camelot and its ideology of freedom and justice. In reference to this, UMMTA’s staging and costume had some seriously 60’s inspired glam. As Director Shaun Fitzgerald noted, Assistant Director Ellie Morrison’s knack for a “well placed Vanity Fair” depicting Marilyn Monroe, of all celebrities, in the hands of a Guenevere modeled on Jackie Kennedy added that extra touch of irony.
UMMTA had wisely chosen to stage Camelot in the intimate Guild Theatre. The impact of the production on a physical and musical level was far greater in close proximity than in the potentially alienating space of the Union Theatre. On top of some of the incredible musical talent, the acting was of a good standard, which often falls by the wayside in amateur musical theatre. King Arthur (Charlie Sturgeon) had a remarkably magnificent and mature voice as well as some softer moments with his sensitive acting. Arthur’s leading lady, Guenevere (Anna Voshege) had a beautiful, rich voice, which she carried masterfully throughout her songs. I was also pleased to see Daniel Czech and his wonderfully spirited voice in the role of Lancelot, whom notably dazzled in UMMTA’s previous production of Sweet Charity.
With such strong leading voices, I was very pleased with the overall casting choices; some unforgettable moments included the plotting between the lazily deviant Morgan Le Fey (Emily Frawley) and her candy-soliciting, charismatic counterpart Mordred (Matt Holt), and the musings of Merlyn (Nicolas Brown) between conversations with Arthur. I also cannot forget the standout performance of UMMTA founder, Emma Leaver as Pellinore, whose acting was so superb and honest the audience was often in fits of laughter, brightening up at her entrances.
Regardless of the musical highlights, “Take Me to the Fair”, “If Ever I Would Leave You” and the dreamy “Follow Me”, the orchestra often slumped and did not do justice to Frederick Loewe’s music or the performers voices. Being so close to the orchestra which was hardly camouflaged, the audience could at times read boredom and smirks from the orchestra, which perhaps in future productions of UMMTA could remain completely out of sight, or a little more focused. This is not to say that they did not have their moments; some melodies they produced were at times heartbreakingly lovely.
The production closes with Arthur’s heartbreak and final show of valour and honour; Camelot is a reminder of what true strength of character means in this world and that in the aftermath of great loss, only the greatest of men will stand up with their dignity in tact.
Review by Leeor Adar
Bookmark & Share.
Posted Friday 30 October, 2009. Updated Thursday 5 November, 2009.
