Camelot reviews

[Talissa]

www.theaustralian.news.com.au/story/0,20867,20241730-5001562,00.html

Um, can we say "ouch"?

Has anyone seen any other reviews around? I haven't been able to find any yet, and it'd be awful if this was the only one, though it seems a bit bizarre.

[Talissa]

Success!

This one's about a polar opposite to the Australian review.

CAMELOT
Bob Hart
462 words
25 August 2006
Herald-Sun
1 - FIRST
82
English
Copyright 2006 News Ltd. All Rights Reserved

Where: State Theatre until Sunday

Reviewer: Bob Hart

CAMELOT is a musical from which Noel Coward once emerged, he claimed, whistling the scenery. Which would suggest he should have attended a presentation more like the deliciously sparse Production Company approach that is working its considerable magic at the Arts Centre.

This version pays greater attention to the exquisite music of Frederick Loewe, who with Alan Jay Lerner assembled this charming musical in 1960, than it does to the settings, which are minimal.

Loewe unquestionably gives King Arthur (Scott Irwin) and the anguished Guenevere (Katrina Retallick) some immortal melodies with which to conjure -- scene-stoppers such as the title song and How to Handle a Woman (Arthur), Take Me to the Fair and the Simple Joys of Maidenhood (Guenevere) -- as well as their blockbuster duet What Do The Simple Folk Do?.

Neither Irwin nor Retallick wasted so much as a bar in their portrayals which were both, but notably in the case of Irwin, played as Camelot Lite -- delivered without the roaring testosterone of either Richard Burton or Richard Harris (who established the role) but sung splendidly.

Lancelot, as was intended, is as curious a fish as ever -- well portrayed by Alex Rathgeber who is, it must be said, shortish for the ultimate medieval warrior, but of a fashionable religious persuasion in these days of booming Christian fundamentalism.

Mind you, it took minimal incentive for him to launch into the most heinous form of adultery imaginable: the seduction of your best mate's wife, who also happens to be the queen. In fact, could this be a symptom of fundamentalism?

The way in which this production was set (in front of an in-form, on-stage Orchestra Victoria who performed superbly) worked brilliantly, with the skilful use of a scrim delivering the right measure of magic around Merlin (Rhys McConnochie) and Morgan Le Fey (Melissa Madden Gray).

The rest of the atmosphere was provided by excellent performances from Dennis Olsen as Pellinore, Nick Christo as the deeply wicked Mordred (he deserved every boo and hiss at curtain call) and a well-directed ensemble.

This Camelot is a match for most full-scale productions, and more than a match for some I have seen. Perhaps it is the freshness of the players after their brief rehearsal schedule, and the newness of the material to most of them, that provides the real magic.

This, like most Production Company offerings, is a show not to be missed -- an important work from that golden age of modern musicals when composers knew that one or two hit songs were simply not enough to carry an endeavour of this length. Here, the hits are wall to wall and unforgettable.

And in between.

Internal scenery equally lush
Jim Murphy, Reviewer
413 words
25 August 2006
The Age
First
19
English
© 2006 Copyright John Fairfax Holdings Limited. www.theage.com.au Not available for re-distribution.

Arts & Culture - MUSIC THEATRE - CAMELOT

MUSIC THEATRE REVIEW: CAMELOT, Music by Frederick Loewe, book and lyrics by Alan Jay Lerner. Directed by George Ogilvie. The Production Company. State Theatre, until Sunday.Running time: 180 minutes

OF THE original Camelot, someone quipped: "You walk out whistling the scenery". An undeserved put-down, it nonetheless served to emphasise that a big appeal of the show was its visual spectacle.

Abundant scenery has never, alas, figured in The Production Company's stripped-to-basics revivals, so audiences here have to be content with a charmingly romantic interpretation of the Arthurian legend, a lovely score and enjoyable performances.

Lerner and Loewe's follow-up to their record-breaking My Fair Lady was US President John F. Kennedy's favourite musical, possibly because the high hopes and noble purpose of King Arthur's dream of a civilised society struck something of a chord. But Alan Jay Lerner's script, based on T. H. White's The Once and Future King, keeps it light by mixing the sometimes high-minded prose with anachronistic puns ("a training program for chivalry - sort of a knight school"), and Frederick Loewe's music, in addition to the famous ballads If Ever I Would Leave You and How To Handle a Woman, boasts spirited choruses, a couple of strong dramatic songs and much incidental music and underscoring that gives the show unique character.

Scott Irwin nicely blends vulnerability and dignity as King Arthur, forced to bear the pain of realisation that his beloved queen and most cherished knight have fallen in love. Vivacious Katrina Retallick is a gorgeous Guenevere, her pretty soprano voice perfectly suited, and newcomer Alex Rathgeber performs Lancelot admirably, even if his youth robs the character of requisite swagger.

Supporting roles are very well-handled by Dennis Olsen (who nails every comic moment as woolly King Pellinore), Rhys McConnochie (Merlyn), Nick Christo (Mordred), Melissa Madden Gray (Morgan Le Fey), Angus McLaren (Tom of Warwick) and Monique Chanel Pitsikas (the bewitching Nimue, which I remember being pronounced as Nim-way, not the unlovely Nim-oo).

Orchestra Victoria, conducted by Guy Simpson, makes a valuable contribution to the musical enjoyment, and director George Ogilvie's staging is intelligent and cohesive. However, replacing Guenevere's second-act I Loved You Once In Silence with a reprise of If Ever I Would Leave You makes no sense.

[Talissa]

And a positive one from Melbourne Stage

www.melbournestage.com.au/ms1/index.php?option=com_content&task=view&id=298&Itemid=39

[ozziechick]

i didn't think it was a bad production! i didn't think it was great, but it wasn't bad!! only thing that annoyed me was alex rathgeber... totally wrong for lancelot, but hey, they can't get everything right! especially annoying when there's at least five people i could name that could play that role better and are more appropriate. sometimes i don't understand the production company....