24.03°C Lerner and Loewe’s 1960 musical can seem like an odd choice for modern audiences. The sword in the stone, Merlin, jousts, magic, and a song titled How to Handle a Woman might appear to clash with contemporary sensibilities. However, Platform’s erudite and entertaining production allows the material to speak for itself, and in the second half especially, it speaks clearly to our times.
King Arthur, with his trusted wife Guenevere, creates a new society in Camelot built on respect and equality among his knights, only for it to be undone by the toxic masculinity simmering beneath the surface. Caroline Fritz’s excellent direction makes full use of the Headgate stage, energised by a terrific ensemble and some beautiful choral work.
George Deadman gives an outstanding performance as King Arthur, capturing his innocence, strength, vulnerability and growing wisdom with ease, a powerhouse portrayal. He is well matched by Cally Kline as Guenevere, who conveys quiet strength and dignity. The arrival of Lancelot threatens their marriage, and Arthur finds himself torn between his wife and best friend, while Guenevere struggles with her own conflict between husband and heart. Remarkably making his stage debut, Richard Harrison is a very convincing Lancelot. As the tortured love triangle unfolds, heart versus head, love versus duty, it becomes clear that despite the myth, magic and legend, this is a domestic story, and it is handled beautifully.
There are strong supporting turns throughout. Wayne Setford is full of warmth and vitality as Sir Pellinore. Jackie Grant is delightfully wicked as Morgan Le Fey. Adam Duarte Dias is excellent as the Trump-like Mordred. A special mention goes to Charlie Byford, who has to wait almost the entire show to appear as Tom of Warwick, and almost steals it from the adults. One to watch.
Staged in traverse, some volume is occasionally lost when cast members turn away from the audience, and more weight is needed in handling swords, armour and helmets, which are treated a little too lightly. Under musical director Phil Toms, the score is vibrant and enjoyable, and Judith Peeling has done an excellent job co-ordinating the stunning costumes.
Played with gusto and sensitivity, Camelot is something of a revelation in our troubled world. Highly recommended.
Until 17th May – Camelot at the Headgate Theatre. Tickets are available here.
Photos: Sally Parkinson Photography
