It’s true, it’s true
Kelowna Actors Studio presents Camelot, opening Wednesday
Social justice, equality, acceptance and love. If it sounds like the start of a good story — that’s because it is. A legendary tale full of good knights, a kind king and a woman who really knows her own mind, “Camelot” just might fill the void that “Game of Thrones” fans are now feeling.
“Camelot” brings medieval pageantry, sumptuous costuming, extravagant set décor and lighting to the Kelowna Actors Studio stage from May 29 to June 16.
Ferreting out ideals of utopia, exploring the entanglements of love and touching the gentler side of being human, Camelot also offers a musical score that touched audiences in yesteryear, and promises to touch the hearts and minds of a new generation.
First brought to the stage several decades ago, the musical has a richly lyrical, enchanting score set against a rich tapestry of medieval pageantry, the folklore of King Arthur, the Knights of the Round Table, Queen Guenevere and Sir Lancelot.
A story where the best of good and noble intentions seems to go awry, but not before the audience is treated to dry, “Fawlty Towers” British humor, an insight to humanity at its best and of course, a really good sword battle.
“The tale of King Arthur is fascinating no matter how old you are,” noted director Dawn Ewen. “It’s about the birth of enlightened government, love, honour and the ideals of chivalry. I’m excited to introduce this to a new generation.”
The production features “deeply honest lyrics” with songs like “If Ever I Would Leave You,” “Camelot,” “How to Handle a Woman,” “I Loved You in Silence” and “It’s May.”
Carmen Harris, taking the lead role as Guenevere, sees the relevance of the Camelot ideals in today’s tableau with Millennials who actively support and seek “social change and social justice.”
“Arthurs’ journey is towards democracy,” she said, “he wants to embrace social changes, justice, equality and acceptance.
“He wants the Knights to ‘do good’. To fight the dragons, not the peasants. It’s very relevant to today’s younger audience, very easy to support the ideal of justice and honour.”
Harris also appreciates the storyline most often told from Guenevere’s perspective, letting the audience peek in to what “she thinks and feels, and how really, she’s the one holding it all together” while the “men around her are losing theirs.”
Taking the role of her unrequited love, Sir Lancelot, is KAS favourite Chad Abrahamson, whose last performance was as the shunned “Hunchback of Notre Dame.”
Shedding his hump for a more suave role, Abrahamson sees the noble Lancelot as a character that “needs a lot of growth.”
“He’s so ‘godly’ and pure, so perfect in his knightly quest, he doesn’t see all the problems he creates,” he laughed. “He has a ton of flaws, but he’s also the son or brother anyone would want.”
Unfortunately, Lancelot is also smitten with his Kings’ wife (King Arthur played by Randy Leslie), causing the inevitable love triangle.
“I have mentally fallen in love with her, and Arthur clearly sees that,” he said. “A problem that should not be brought to the Round Table.”
Suspicions abound, and ultimately a lively sword fight erupts, which is “fastpaced and really hard!” Abrahamson noted. “We’re using heavy, heavy professionally made swords and the fight choreography has us all breathing hard at the end.”
Leslie added that Camelot is “a classic from the golden era of musicals, and is very political, actually, considering events that happened then, and events happening now.”
The link from the past also refers to the so-called “age of Camelot” coined for the John F. Kennedy administration and the rage stirred in young Americans over the unpopular Vietnam War, and the demise of the JFK and Jacqueline dynasty.
And yes, there is a young boy (Ethan Landygo) who ultimately takes up the sword and mantle of chivalry from the failing King, with promises to carry forward the ideals of justice and peace for all.