Most productions of “Camelot” focus on the triangular love affair between King Arthur, Guenevere and Sir Lancelot. At Barrington Stage Company their production, which runs through July 19, goes deeper.
Of course, romance is at the heart of the play. But this effort probes the frailties of the three hoping to understand what is the underlying truth of the myth about King Arthur and the Knights of the Roundtable.
What is it that has permitted this tale to endure over so many centuries?
Alan Paul, the producing-artistic director of BSC, and the director of this production, suggests that a society such as “Camelot,” cannot exist until man is fully civilized. The quest is not for a Holy Grail. It is for a deeper understanding of one’s self.
Arthur’s journey is from a vapid youth, to a king by fate, to a warrior ruler, to peacemaker, to finally, a man wise enough to be worthy of being a leader.
The path is not easy. Indeed by play’s end Arthur resembles a Shakespearean figure who has suffered, endured and conquered - not nations, but his personal flaws.
Arthur’s quest leads him to realize the power of forgiveness. He comes to understand betrayal is sometimes nothing more than individuals giving into their own weaknesses.
Only when a person, or a country, chooses reason over vengeance can it be considered a civilized society.
Amazingly, Paul finds this depth without diminishing the entertainment qualities of the Lerner and Lowe musical. You leave the show both humming and thinking. It’s a mighty achievement.
This is a production that includes three perfect leads and several outstanding supporting actors. In lesser productions both Dakin Matthews as Pellinore and Danny Kornfeld as Merlin might steal the show with their broad performances. Not in Pittsfield, MA.
Also, the costumes are lavish and the 14-person orchestra under the guidance of musical-director Darren R. Cohen is excellent.
Besides the title song, which has become an anthem for hope, the score includes “If Ever I Would Leave You,” “How To Handle a Woman” and “Follow Me.” Each has become a romantic classic.
More than usual the songs support the moment. When Lancelot first arrives he sings “C’est Moi”. The number shows him to be an idealistic youth who is as vain as he is a brave warrior.
It also signals that Emmett O’Hanlon has both a dominant singing voice and is an actor who can navigate many moods, each with honesty. His physical presence is such that director Paul risks losing the audience’s attention by having O’Hanlon play one scene bare-chested.
He makes it understandable that Guenevere could be attracted to a man who seems to have mystical powers and earthy appeal.
Ali Ewoldt is a delicate beauty who sings with clarity, beauty and power. She is plaintiff with “Before I Gaze At You Again” towards the end of the first act. Even more so with “I Loved You Once in Silence” in the second act. Together they define the woman and the cost of her damning love. She does the impossible by signaling her devotion for Arthur even when leaving with Lancelot.
Despite sharing the stage with such talent, Ken Wulf Clark owns the production. Having seen both Richard Burton and Richard Harris play the role, I find them second to Clark’s interpretation. Thanks to his performance you leave the theater hoping there really was a King Arthur - and this is what he was like.
“Camelot” plays at Barrington Stage Company, Pittsfield, MA until July 19. For tickets and schedule information go to Barringtonstageco.org
Bob Goepfert is theater reviewer for the Troy Record.
The views expressed by commentators are solely those of the authors. They do not necessarily reflect the views of this station or its management.
