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REVIEW: "Camelot" at the Mac-Haydn Theatre

REVIEW: “Camelot” at the Mac-Haydn Theatre

[cabaretdaily]

Some more HQ pictures from the Mac-Haydn Theatre production of Cabaret (x)

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by Roseann Cane

There may be no American musical that comes close to the poignant resonance of Lerner and Lowe’s Camelot. A favorite play of President John F. Kennedy (who had been a classmate of Lerner’s at Harvard), the star-studded, award-winning show originally ran on Broadway from December 1960 through early January 1963. It was embraced as symbolic of the Kennedy presidency and became collectively idealized after the Kennedy assassination.

I seized the opportunity to review the Mac-Haydn’s production. Like so many Americans, I have a soft spot for “Camelot,” especially since I’d seen several productions during my ‘60s childhood, and I love the score to this day.

I’m happy to report that director James Benjamin Rodgers has assembled actors who are also superb singers, especially the lovely Madison Stratton (Guenevere), who has an exquisite voice, combined with a stage presence that is at once ethereal and feisty; to my thinking, she is perfectly cast. As Arthur, I didn’t recognize Gabe Belyeu, whom I’ve seen in a number of shows at this theater. That’s a high compliment. His Arthur was youthful, wistful, and charming. Nick Miller (Lancelot), with his warm, burnished, sonorous voice, delivered a glorious “If Ever I Would Leave You.”

How I wish that the direction and choreography had dovetailed with the performances. In other productions I’ve seen, Lancelot sings “If Ever I Would Leave You” while in bed with Guenevere, the two basking in passionate post-coital glow. In this production, Guinevere and Lancelot stood fully clothed, hardly touching each other, and there wasn’t a hint that the couple had a sexual relationship. For that song to propel the story, we need to feel a strong erotic charge between the lovers. The Mac-Haydn is a theater in the round, and I can certainly understand the challenges inherent in bringing furniture onstage. Sex doesn’t have to happen on a bed. Most of the scenes took place in a park or a forest, and these lovers easily could have been embracing on the ground.

Yet earlier in the play, when Guenevere serenaded us with “The Lusty Month of May,” the randy ensemble’s choreography found them in a supine circle on the stage, men straddling the women, and…there’s no other way to put this…humping them. The spirit of the song is more teasing than graphic, and it could have been delightful to see the couples engaging more playfully and suggestively.

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Actor Dakota Dutcher played the roles of Merlyn and Pellinore. Dutcher is a fine-looking, talented young man. In what I experienced as an odd choice, he was a young, robust Merlin in a long beaded wig. Inexplicably, he had a standard American accent, unlike anyone else in the cast. Despite the reference to Merlin’s ability to become youthful, Merlin (to my knowledge) is always played as an elderly, white-bearded magician. This is essential for the audience to grasp the contrast between the boyish, impulsive Arthur and the older, wiser man. In this particular case, Arthur looked older. When Dutcher returned later to play Pellinore, he sported a gray wig and doddered appropriately, English accent and all. I can only guess that the director and the costume designer felt that, since the actor was playing two roles, they had to create an obvious contrast. They needn’t have. In fact, they shouldn’t have, because it cost the play one of its important archetypes, thereby blurring the plot. I have no doubt that Dutcher is fully capable of playing two very different old men.

While the folks at the Mac-Haydn are usually very good at choreographing large casts on the small, round stage, I found the choreography of Camelot not up to their usual standards. The stage often had a chaotic appearance when populated by more than a few members of the large cast. A rope swing hanging on one side of the theater could have been used for fun effect during “The Lusty Month of May,” but it was used throughout the show by various actors, making the movement predictable and extraneous. Similarly overemployed was a misting effect. It would have been eerily lovely during some of the forest scenes, especially when magical events with Morgan Le Fey (Emma Flynn) or evil doings by Arthur’s vengeful son Mordred (Gino Cardoni) were afoot, but the buckets of steam enveloping the set became meaningless very quickly.

Despite the aforementioned technical missteps, I believe that this show is worth a visit. It’s a rare treat to hear so many beautiful voices give new life to songs so many of us hold dear.

Camelot runs May 23-June 2 2019 at the Mac-Haydn Theatre, 1925 NY 203 in Chatham, NY. Book and Lyrics by Alan Jay Lerner, music by Frederick Lowe, directed by James Benjamin Rodgers, choreographed by Lizzie McGuire, musical direction by David Maglione, set designed by Kevin Gleason, lighting design by Andrew Gmoser, costume design by Alison Zador, sound design by Corbin White, props designed by Joshua Gallagher, hair and make-up designed by Matthew Oliver. CAST: Gabe Belyeu as King Arthur, Madison Stratton as Guenevere, Nick Miller as Lancelot, Dakota Dutcher as Merlin and Pellinore, Gino Cardoni as Mordred, Emma Flynn as Morgan Le Faye, Jonah Hale as Sir Dinadan. 

Click HERE for tickets.

  REVIEW: “Camelot” at the Mac-Haydn Theatre by Roseann Cane There may be no American musical that comes close to the poignant resonance of Lerner and Lowe’s Camelot.

[larryland]

CHATHAM, NY— The Mac-Haydn Theatre kicks off its 51st season with the Alan Jay Lerner and Frederick Loewe classic Camelot, running May 23 through June 2.

This soaring Lerner and Loewe masterpiece tells the tale of the legendary love triangle between King Arthur, Guenevere, and Sir Lancelot. The fate of the kingdom hangs in the balance as a young idealistic Arthur, with his roundtable, try to maintain honor and dignity. Classic hits like “If Ever I Would Leave You,” “The Lusty Month of May,” and the title song “Camelot” will thrill and delight.

Stepping into the role of King Arthur is Mac-Haydn favorite Gabe Belyeu, kicking off his tenth season in Chatham. Last summer, audiences loved Gabe in Damn Yankees, Mamma Mia, The Hunchback of Notre Dame, and Annie. Some of Gabe’s career highlights include the National Tours of Showboat and Jesus Christ Superstar with Ted Neeley.

Madison Stratton returns to The Mac-Haydn as the beautiful and spirited Guenevere after her performance as Tonya in last season’s fan-favorite production of Mamma Mia. Madison’s New York theatre credits include Baby, A New Musical Off-Broadway and the National Tour of Ragtime.

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Madison Stratton, Gabe Belyeu, and Nick Miller

Madison Stratton, Gabe Belyeu, and Nick Miller

Madison Stratton and Nick Miller

Nick Miller makes his Mac-Haydn debut as Sir Lancelot. Nick was recently seen as Falstaff in Mixed Precipitation’s Merry Wives of Windsor, Plunkett in Utopia Opera’s Martha, and Judd in the Engeman Theatre’s production of Rodgers and Hammerstein’s Oklahoma!, which he will reprise in Mac-Haydn’s production in August.

Fresh off the national tour of Spamalot, Dakota Dutcher returns to the Mac in the roles of Merlyn and Pellinore. Dakota was seen last season as Cliff Bradshaw in The Berkshire Theatre Award nominated Cabaret.

Rounding out the cast are Mac-Haydn alumni Emma Flynn and Gino Cardoni as Morgan Le Fey and Mordred, respectively. Emma and Gino were both members of the resident company in the 2018 season, during which audiences loved Gino as Sky in Mamma Mia and Emma as Holly in The Wedding Singer.

Camelot is directed by James Benjamin Rodgers and choreographed by Elizabeth McGuire, with costume design by Alison Zador and scenic design by Kevin Gleason.

For tickets and details please visit http://www.machaydntheatre.org or call the box office at (518) 392-9292

Mac-Haydn Theatre Kicks Off its 51st season with “Camelot” CHATHAM, NY--- The Mac-Haydn Theatre kicks off its 51st season with the Alan Jay Lerner and Frederick Loewe classic Camelot, running May 23 through June 2.

[cabaretdaily]

A short introduction clip to the Mac-Haydn Theatre production of Cabaret, with rehearsal footage and short interviews with the cast members, who discuss synopsis of the musical and their characters.

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Two Musicals "In Development" Come to Mac-Haydn Mondays

Two Musicals “In Development” Come to Mac-Haydn Mondays

CHATHAM, NY — An extra special show has been added to The Mac-Haydn Theatre Monday night schedule: In Development, with songs from two original musicals being developed by Musical Director David Maglione will perform on Monday, August 28, at 7:30 p.m. Wendy’s Shadow is a modern-day retelling of the mischievous and magical adventure of “Peter and Wendy”, with a contemporary folk/rock score.  Book,…

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"Hi, Ho Robin Hood" Brings Adventure to The Mac-Haydn Children's Theatre

“Hi, Ho Robin Hood” Brings Adventure to The Mac-Haydn Children’s Theatre

CHATHAM, NY — The exciting adventures of a band of merry men in old England come to The Mac-Haydn Children’s Theatre stage with Hi, Ho Robin Hood, July 21, 22, 28 and 29. Robin Hood and his men roam Sherwood Forest, robbing the rich to help the poor people of Nottingham.  Prince John, who is ruling while King Richard The Lion-Hearted is on a crusade, is taxing people right out of their homes! …