On Wednesday, September 26, 2007, the Civic Theater located in the heart of San Diego, California’ s Gaslamp District dimmed the lights for their second performance of the touring production of Lerner and Loewe’s classic “Camelot.” In spite of the locale’s notorious acoustics quality and somewhat shaky lighting crew, the production is a thoroughly enjoyable night out on the town. To be sure, bringing back to life the musical that shot Julie Andrews’ star even higher into the stratosphere than her turn as Eliza Doolittle in “My Fairy Lady” had done, is a feat in and of itself. Yet, it must also be noted that this cast and crew do everything right, and for a show that has not aged with the same popularity as some of its era, “Camelot” still holds a punch that is especially poignant as America currently struggles with a seemingly never-ending war of its own.
As is the nature of this musical, the first act of this production is staged to highlight the utopian world of Camelot, coupled with King Arthur’s refreshing if naive desire to create a world where fights are worked through with words rather than swords, and where war can one day be eradicated completely. At the very least, he sees war as being maintained only for those causes which are particularly necessary and aimed for “justice” - that vague and seemingly unattainable word that all sides are able to claim for their respective causes. Within this first act Lerner and Loewe’s jokes and up-beat music is the same as it could ever have been, and it is only into the second act that the gravity of the uphill battle Arthur has unknowingly begun to fight - not only against man’s desire for revenge, but also in a heartbreaking attempt to save his own relationships - becomes painfully obvious.
Even as the human struggles become obvious in the second act of this production, the land of Camelot and the world in which these characters exist and prosper and eventually fall are brought to life by the highly skilled scenic design capabilities of John Iacovelli. Iacovelli has created a series of set pieces that are not only able to travel well but which lose none of their detail or beauty in having this capacity for transport. To be sure, the logistical and technical aspects of any touring production are not things to be overlooked in the context of a show, since these are indeed undeniably necessary aspects to a shows’ production value. To boast sets, as Iacovelli’s work here does, that are as intricate and studied as any resident show could possess, is indeed a coup for this production. The same could be said for Tom Ruzika’s lighting design which showcases an ease and a subtlety that is the quintessential element of good lighting. Whether he is easing his audience into a hopeful sunrise and a joyful day lauding the month of May or casting the shadows of a setting sun as filtered through the trees in a forest that will inevitably be destroyed by impending war, Ruzika’s Camelot exists as a living and breathing world.

In much the same nature, Marcy Froehlichl’s costume design gives this plays’ characters the personality that their respective lack of speaking lines cannot. As written by Alan Jay Lerner, the book and lyrics of this musical give strongest speaking roles to the four main characters - namely Guenevere, played flawlessly by the gorgeous Rachel de Benedet, Arthur, brought to life by Lou Diamond Phillips, Lancelot carried off flawlessly by the delightful Matt Bogart - who received top billings - and for all intents and purposes Pellinore, whom Time Winters played to perfection. However, Froehlihl’s costumes bring the light and airy nature of the early Camelot into a tangible existence with a modern twist as the fitted and breathable gowns highlight Guenevere’s independence as a woman with a soft and gentle touch. It surely is no accident that the men’s costumes remain more traditional for the medieval era - they cling to a tradition and protocol that Guenevere’s determined refusal to adhere to leads to her struggle and downfall.

With the music for this production predominantly kept as written by Frederick Lowe, this staging of “Camelot” keeps all the panache of the original 1960 production with a few added reprises of the show’s most popular song, the simply titled “Camelot.” The Civic Theater’s production cleverly brings to life Lerner’s jokes and well-possessed lyrics just as well as they brought the audience to a standing and swooning standing ovation with Loewe’s musical score. Particularly of note, in addition to the vocal capabilities of Bogart and de Benedet, is Time Winter’s abovementioned portrayal of Pellinore - a perfectly delightful characterization that truly steals the show in each scene he is in. A confident veteran of stage and screen, Winters’ Pellinore, though kept to the realm of caricature, truly brings to life the humorous aspects of this show which is admittedly slow through the entire first act.
As we are able to see the love triangle heartbreakingly splinter all the more, we catch a glimpse of what these characters all could have been. Outside of a wonderful singing voice, Matt Bogart’s Lancelot does not bring any revelations about his character, and Guenevere is the only character who shows a multifaceted personality. We are able to see that Arthur’s doubts have never really left him and we are shown only through Guenevere’s misery just how much her actions have hurt her husband and the country she is supposed to rule. For it is from Guenevere’s indiscretions that her destruction is staged, leading to the downfall of Arthur’s hard-earned Round Table with its Knights and the re-introduction of war as a lifestyle, not a thing of the past. We are left to watch Arthur admit that his marriage had been a sham for sometime, and that his quest for a warless society may never be recognized. It is the human fallibility of Guenevere, whose intentions of maintaining her marriage for the benefit of the country and a respect for the man whom she promised to love forever, are too hollow to follow through on, that leads to the downfall of her husband’s empire and the utopia that was Camelot. Yet, it is her humanness that makes all understand why Arthur could not help loving Guenevere even as she herself falls in love with the once-pious Lancelot - as Arthur commands Guenevere to leave him to avoid death by the townspeople who have accused her of treason to the crown, he tells her she must leave him. She answers back a simple “I know” that is so choked by tears and self-hatred that the audience cannot help but fall in love with her once again, and come to terms with what Arthur was willing to give up to keep alive this beauteous creature, all in the name of love. For in every struggle for higher purpose, we are all simple humans, trapped together in a seething tide of the powers-that-be which we can only try to fight.

“Camelot” plays September 25 through September 30 at the San Diego Civic Theater, located at 3666 Fourth Avenue, San Diego, CA 92103. For tickets call (619) 564-3000.