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Monday, November 14, 1977
University Daily Kansan
Disturbing elements mar 'Camelot' production
Rv JERRY SASS
Reviewer
"Camelot" is a disturbing show. It always has been a big production, almost larger than life. Directors have complained that the dialogue and characterization just are not as good as the music. Yet it is still one of the most popular musicals of all time.
The University of Kansas Theatre and the School of Fine Arts production of "Camelot" opened Friday at the University Theatre in Murphy Hall.
The KU production is a good show with problems. Those problems seem to stem from contamination of the kukui nut.
"Gamelet" is the story of King Arthur; his queen, Gueneve; his best friend, Lancelot; and their attempt to bring peace and order to medieval England. The show is
loosely based on T. H. White's "The Once and Future King."
THE SHOW, written by Lerner and Loeve, takes most of the comic elements of White's book and the bare outlines of the love triangle involving the three main characters. The result is a very funny, yet sad, romance.
The KU production is extremely energetic. The talented chorus was almost forgotten in the last few years.
There were strong performances from the main characters.
James Ivey, as Arthur, was a fine performer. He has made a legendary king into the simply, boyish squire who struggles masterfully to think his way through problems rather than solve them with his sword.
Ivey was a disciplined, yet relaxed performer. His voice was good and his timing was nearly perfect. He showed a real talent for comedy, and his most emotional scenes were excellent.
NOLA WRIGHT was an engaging Guenevere. She also showed a talent for comedy and was a fairly believable lover. Her voice was good, but the lyrics were lost whenever she had to compete with the chorus or orchestra.
Wright was excellent in several songs, perfectly playing the young, high-spirited queen. "The Simple Joys of Moanedhood," with her own lyrics, were done to the Simple Folk Do." all were well done.
Bil Isham, as Lancelot, was sufficiently stuff and saintly. His gradual relaxation into the role of Guenevere's fiery lover was not the same as his relationship with sharpness to the moment when he and
Guenevere fell in love after he had restored another knight to life. This miracle scene takes place in the story of *Tiana*.
ISHAM ALSO seemed to lace from time to time in a slight foreign accent, which is fine for the French Lancelot but should be more consistently kept.
Alfred Lata was an impressive Pellinore, the harebranded and lovable old king, who took a break from questing to sleep on his beds and provide no official advice to Arthur.
Staff Photo by RANDY OLSON
Warming up
Gene Detritex, Hays junior, practices on his crimson before going on stage for the Collegium Musicum concert Thursday
Lata was not the standard old English gentleman, which is how Pellmore usually is played. His version of Pellmore was new, different and refreshing. His offhand remarks to "Mrs. Queen," as he often叫 Guenevere, were hilarious. Lata was relaxed and seemed to have as much fun with his character as the audience did.
night in Swarthout Recital Hall. The concert featured music of the 17th century, and Detrixhe was one of five members of a wind band called the Stormtroopers.
String quartet applause merited
No. 2 by Robert Schumann. After the unermission, the Garnieri Quartet ended with Debussy's Quartet in G minor, Op. 10.
Lawrence audiences are always eager to pop up and applaud after any performance. This was one occasion that merited it. In a recent lecture, Mr. Lawrence gave a good performance to the large University Theatre crowd yesterday that it merited more than the partial standing ovation and applause.
BvREBECCA YERADI
Each member of the Guarneri Quartet is a virtuoso in his right, but individual artistic temperament never showed. The quartet members, Arnold Steinhardt and John Dalley, violins; Michael Tree, viola; and James Pate, cello. Flawless ensemble through the program.
delicate, transparent tone required for the Debussy.
The well balanced program opened with Beethoven's Quartet in G Major, Op. 18, No. 2. This quartet has a pronounced classical flavor and has a very high number of more romantic quartet in F major, Op. 41.
THE SOUND THEY produced was the guty romance of the Schumann's guty romance of the Schumann's guty
One could not argue with the interpretation, either. The Beethoven was appropriately bright and happy; the Schumann had just enough schmaltz.
Although the Beethoven was delightful,
the performance of the Debusy was finest
of all. The third movement was magical.
The music of the market players play
better, as an ensemble.
It was a fine performance from one of the highly acclaimed American string duo.
STEVE MOKOFSKY, as Mordred, also was good. His was a perfect wilt of wit and deity. His stage presence showed his talent. He wondered at his athletic ability while stumbling.
The lighting reflected the moods of the play nicely. Although the first act, which is mostly light and funny, was brightly lit, the second act the downfall of Camelot in the second act.
They all should have stood.
The direction was sporadic at best. There is a temptation to bring all kinds of outside elements and preconceptions to this play, but the legend is told in so many different versions.
UNFORTUNATELY, director Tom Rea seems to have brought in some disturbing
Merlin does not appear as the old white-bearded mystic with long flowing robes and a pointed hat. He looks more like the Merlin portrayed by Mary Stewart in the "The Tale of Merlin."
Merlin seemed to be wearing old burp garments, and he was not the absent-minded soshsayer, but rather Stewart's tired old man.
The scene with mysteries Queen Morgan Le Fey was almost funny. It was supposed to show the raw sensuality of a queen who lives in a castle made of food, who spends her days gorging herself and her nights making organic love. But the members of her court looked more like a Keystone Kops version of sensation.
THE FINAL scene was a bit of deja vang. Arthur and Pellinore were left on the stage after the audience was assured that he could handle for goodness and love would continue.
Arthur raised his sword, and Pellinore stood behind him, both frozen as the lights dimmed. They were highlighted against a light backdrop and one wondered how the final scene from "Man of La Mancha" worked its way into "Camelot."
The decisions to play a simple Arthur and a very different Pelinoire were faultless. Most of the actors' movements were well defined and sharp.
THE CHORUS choreography was good in the first act but somewhat catatonic in the second act. Morgan Le Fey's court was the most confused choreography in the show.
There were also a few technical difficulties. Scene changes are always a problem in a huge show when orchestra pit lights illuminate a totally blacked out stage. Some of the "Camelot" scene changes were so well lit, however that they seemed part of the play. The scene changes took a lot of time, too.
Much work seemed to have been put into the costumes, undoubtedly they were lush and beautiful. But one of the themes of the play is the simplicity of these royal folk, and the costumes are annoyingly complex at times with bits and points hated wildly out of control.
Despite its faults, "Camelot" is still a rare treat. The strength of the music, the legend and the energetic cast makes it a good production.
"The Social Cost of Daring to be a Jew in Mid-America"
featuring Dr. Ann Wiliner
featuring Dr. Ann Willnor
—bring your lunch & join the open discussion—
NOON FORUM
Wednesday, November 16th
Alcove 'B', Kansas Union Cafeteria
sponsored by B'nal B'rith Hillel