Despite being named a concert version of a larger musical, Asolo Rep’s outdoor Camelot has—in glorious color—all the songs, acting, technical qualities of a traditional indoor hit. Further, though the titled Kingdom goes down in flames, both they and what led to them score a triumph for a glorious mingling of story, sight, and sound.
From the moment Nick Duckart’s appealing Arthur reveals he’s not sure he can be the King who must change the ways of his kingdom or even be happy in his imminent marriage, you begin rooting for him. When you meet intended bride Guinevere (beautiful, spirited, vocally gifted Britney Coleman), you pray they’ll advance Arthur’s dream kingdom together. It won’t be easy, since she’s wanted to escape any arranged marriage (“Where Are the Simple Joys of Maidenhood?”). But Duckart’s Arthur tunefully sells “Camelot”—and himself—to her.
What makes the dream of a just, lawful, not-always-fighting Camelot so difficult to not only establish but maintain comes from appearances by Lancelot, a “perfect” French knight and vocalist (“C’est Moi!) who pledges to best serve Arthur and, yet subsequently, from Mordred. Arthur’s bastard son, he plots to destroy Arthur’s kingdom and replace both with warring ways and only self-serving governing.
Guinevere at first urges knights to court her favor by felling “braggart” Lancelot in a joust. But handsome Alex Joseph Grayson as Lancelot resurrects a dead opponent, winning Guinevere’s love. He falls for her, too. Court gossips consider them lovers, yet Lancelot can’t conceive of breaking with her (“If Ever I Should Leave You”} or Arthur.
Both King and Queen wonder “What Would the Simple Folk Do?” as they try to work out their personal and civic problems. Later, in a beautifully wrought Forest scene, Duckart’s Arthur sings of his need for his old, unavailable tutor Merlin. Arthur rues the danger his son brings all. Powerful in voice and mien, John Rapson’s deeply evil Mordred takes advantage of one night Arthur’s absent from the castle to destroy the lovers, Arthur, and Arthurian Kingdom with its laws and Knights of the Round Table.
Mordred compels putting Guinevere on trial for her life. He insists either she or the law must die. Smoke fills what should be her death scene. Asolo Rep’s production team goes all-out to raise fire in every aspect of the front of the theater. With powerful projection, fire consumes everything. The lovers and friends come to a final parting with each other. On such a sad note, though, there’s a happier possibility. Levin Valayul, who’s represented several young male characters, comes strongly into his own as a youth who can carry memories of Camelot into the future.
Memories of this production’s design should linger in your mind for a long time. But besides sound and light, you may recall the perfectly appropriate costuming, hair and cosmetic styling. Also, nothing’s seemed static. You might especially relish thoughts of the clever choreography of the jousts and general movement that seems so natural even with social distancing.
All in all, there’s “really not / a more congenial spot” than Asolo Rep’s Terrace Theatre for its version of Camelot.
