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Regional Reviews: Phoenix Camelot Also see Gil's reviews of Spring Awakening, Truce and Next to Normal
The plot, based on T.H. White's "The Once and Future King," follows the rise and fall of King Arthur's legendary kingdom. Arthur dreams of building a realm founded on justice and honor, embodied by the Knights of the Round Table. But his idealism is put to the test when his queen, Guinevere, and his most trusted knight, Lancelot, fall in love. The resulting love triangle, coupled with political betrayal and personal disillusionment, leads to the tragic unraveling of Arthur's dream and his kingdom. Toward the end of the original version of the musical, King Arthur desperately hopes his story will be remembered and asks a young boy to promise to pass it on. That powerful moment of storytelling inspired playwright David Lee to reimagine the beloved musical with a smaller cast, as if the tale were being shared around a campfire, with the focus placed squarely on the central love triangle of Arthur, Guenevere, and Lancelot. In doing so, it brings the storytelling to the forefront. With many in the cast playing multiple roles, the production emphasizes character and clarity, drawing the audience into the heart of the legend; the fact there is only one actress also emphasizes the role of Guinevere in the plot. Lee's script has the actors deliver narration directly to the audience, which helps to move the plot forward while reinforcing the feeling of a story being shared. The use of storytelling and actors playing multiple roles adds a heightened theatricality, and a brief addition to the ending beautifully ties it all together, creating an emotional connection between past and present–and between the cast and the audience–that may leave you a little choked up like it did for me. The classic songs, which feature elegant music by Alan Jay Lerner and Frederick Loewe's expressive lyrics, include "If Ever I Would Leave You," "How to Handle a Woman," and the title song and are delivered with updated orchestrations and fresh emotional resonance from Hale's cast. A few songs have been cut and the group numbers may seem lighter without having the contribution of a large ensemble, but they prove no less powerful. Lee's approach honors the original while distilling it into something more direct and accessible, particularly in the way the ensemble works together to tell the tale of King Arthur. The cast is excellent. As King Arthur, Cameron Rollins brings gentle gravitas as well as moments of heartbreak to the role, capturing the character's evolution from hopeful idealist to world-weary ruler. Guinevere is played with grace and fire by Gracie Gamble, who does a wonderful job demonstrating the character's inner conflict once she finds herself drawn to Lancelot. Zac Bushman infuses Lancelot with a huge dose of conceitedness and charisma as well as layers of vulnerability which makes the character's journey especially compelling. All three have wonderful singing voices and the chemistry among the trio is electric. The five supporting actors impressively shift between roles as Mordred (a deliciously evil Reece Harris), the three knights (beautifully played by Bennett Allen Wood, Jason Irr, and understudy Truman Regard-Whipple who was on for Joshua South at the performance I attended), and young Tom of Warwick (a bright and eager Reegan Regard-Whipple), providing energy and keeping the narrative flowing seamlessly. Cambrian James' in-the-round staging is used to great effect, drawing the audience into the action and emotion of the story. The intimate space heightens the tension of the love triangle and the personal stakes of every choice the characters make. Brielle Hawkes' costumes are richly detailed, evoking the medieval setting without feeling heavy or overstated. Avery Reagan's stunning lighting and McKenna Carpenter's beautiful set elements work together to create an immersive, almost dreamlike atmosphere that beautifully supports the storytelling. Hale's production of the small-cast Camelot is wonderful. It's refreshing to see a new adaptation that doesn't attempt to reinvent the show entirely, but rather refines and reshapes it for a modern audience. Intimate, emotionally charged, and true to its roots, this Camelot proves that the legend of Arthur and this classic musical still have the power to captivate. Camelot runs through May 10, 2025, at Hale Centre Theatre, 50 W. Page Avenue in Gilbert AZ. Tickets can be ordered at https://www.haletheatrearizona.com or by calling (480) 497-1181 Producers & Casting Directors: David & Corrin Dietlein Cast: |
