The eight-actor company of CAMELOT — augmented by a heads-on-a-stick ensemble — spend a thrilling day at The Jousts, in the re-imagined musical classic that continues on stage at Two River Theater. (Photo by T.C. Erickson)
It’s a shining kingdom of law and virtue that boasts a population of just eight humans — and only one woman in town, at that. But if the Two River Theater Company production of Camelot seems to be missing a few of its usual fixtures — the dour middle-aged actors, the cardboard castle walls, the pointy hats — what stands revealed at its heart is one of the true evergreen musicals of its (late 1950s/ early 1960s) era, with one of the most sharply delineated triangles in stage history, and a memorably introspective score by the Lerner and Loewe team that previously brought the world My Fair Lady.
Directed here by the Emmy winning sitcom impresario David Lee (Frasier, Wings), this is a Camelot the likes of which you may not immediately recognize — one that dispenses with several of the familiar characters (including Merlin), and which paints over the memory of Richard Harris and other brooding King Arthurs with a fresh-faced cast of young pros that take the story back to basics, against a functionally spare multi-level staging that sometimes substitutes pantomime for pageantry (and, in the percussively choreographed opening moments, a healthy bit of STOMP in place of pomp).