Camelot
Book and Lyrics by: Alan Jay Lerner
Music by: Frederick Loewe
Directed by: Natalie Burkhart
Music Directed by: Jordan Kuzmack and Jayme Vaughn-Linebarger
Produced by: Upright Theatre Co.
Audience Rating: PG
Running Time: 3 hours, including one 15-minute intermission
Accessible Seating: Available
Hearing Devices: Not Available
Sensory Friendly Showing: Not Available
ASL Showing: Not Available
Sound Level: Comfortable
Audio/Visuals to prepare for: Stage Fights, Flashing Lights, Water-Based Fog
Reviewed by Troy D. Murray
Almost everyone knows the classic tale of The Sword in the Stone, which captures the miraculous moment a young, unsuspecting boy pulls a blade from an anvil to claim his divine right to rule. Yet, we rarely think about what happens after the sword and the stone are separated. Upright Theatre’s production of Camelot dives straight into that untold chapter, exploring the heavy weight of the crown and the fragile dream of a unified kingdom. This staging strips away the dusty old myths to deliver a grand, deeply emotional, and truly enchanting experience. It stands as a remarkable achievement for the company, offering a thought-provoking afternoon at the theater.
The staging captures the sprawling scale of Arthurian lore through a well-coordinated collaboration between the directors and the crew. Natalie Burkhart (Director) effectively guides the production alongside Abby Range (Stage Manager), ensuring the staging moves forward smoothly with clean transitions. The action sequences are handled with equal care, as Ryan Davila (Fight Director) crafts the onstage combat, creating believable skirmishes that prioritize the safety of the cast involved.
On the musical front, Jordan Kuzmack and Jayme Vaughn-Linebarger (Music Directors) partner effectively with Natalie Burkhart (Sound Designer) to manage the show's demanding arrangements. This team navigates the cast safely through Frederick Loewe’s complex compositions, balancing the quieter, intimate melodies against the booming group numbers. The cast responds with clean vocal execution that fills the space.
The visual design stands out as a major asset for this production. Hayden Casey (Set Designer) makes smart use of the physical stage by building deep cobalt arched walls and layered greenery platforms that introduce distinct organic textures to the environment. The monarch's throne envelops the space, featuring detailed carvings that fit the royal setting well. The cast is outfitted by Theater Threads & More (Wardrobe), whose choices include impressive, highly detailed headpieces and accoutrements for mystical figures like Merlyn and Morgan Le Fey. The craftsmanship on these specific accessories is refined enough to look right at home among high-end vendors at the Scarborough Renaissance Fair. Furthermore, the hair design deserves credit, as the utilized wigs blend realistically and suit the actors well. Gracie Ridings (Lighting Designer) enhances these elements by introducing a color palette of cool tones and flickering light patterns, giving the forest scenes an eerie, visually striking ambiance. Taylor Veer (Prop Designer) adds the final necessary touches with functional prop choices. These visual pieces establish a strong foundation for the acting company to explore the narrative.
Devon Watkins (King Arthur) anchors the kingdom, handling the dialogue with a poignant patter in numbers like "I Wonder What the King Is Doing Tonight". He plays the monarch with a grounded sincerity, tapping into a raw, commanding emotional delivery during the show's high-stakes moments. Katherine Spellmon (Queen Guenevere) acts opposite him, carrying herself with an innate poise that matches her clear vocal performance. She delivers a strong rendition of "Simple Joys of Maidenhood," revealing an undercurrent of curiosity, desire, and intensity beneath her royal exterior.
Alex Bigus (Sir Lancelot) injects a completely different energy into the court, projecting absolute certainty from his very first entrance and through his performance of "C'est Moi". He portrays a highly skilled combatant whose arrogance is pushed to an entertaining extreme, and his dedication to the show's physical comedy lands reliably. The supporting knights hold their own across the roundtable scenes; IJ Gordon (Merlyn/Sir Lionel) offers a stoic, honorable presence in his dual tracks, Kyle Morris (Sir Sagramore) behaves with sharp alertness, and Nathanael Clark (Sir Dinadan) plays his role with a practical, modest demeanor.
Fred Patterson (Pellinore) provides an eccentric contrast, delivering a performance that is highly effective despite and because of how erratic the character acts. He embraces these oddities completely, leaning into a scatterbrained mindset and a habit of getting lost in his own winding stories. John Harvey (Mordred/Squire Dap) handles the darker shifts in the plot, offering a pleasant surprise with his sinister performance of "The Seven Deadly Virtues." He hits his stride in this musical number, presenting a calculating antagonist who moves through his scenes with a polished confidence, always appearing to hold the upper hand against his rivals.
The production gains an extra layer of atmospheric gravity from Noel Edmonson (Nimue) and Ashley Pence (Morgan Le Fey). Both actresses maximize their limited stage time in these two featured roles, contributing beautiful and haunting vocal work. Noel Edmonson gives her character an alluring, otherworldly quality, while Ashley Pence opts for a sharper, commanding delivery that suits her character's malicious motives.
The vocal ensemble is rounded out by the Ensemble, featuring Dex Burkhart, Amirah Delorose Owens, Eleni Brooke, Alex Thomas, and Piper Daniel. This group sings with a uniform, pleasing blend that establishes the whimsical mood required for the setting. Piper Daniel (Dance Captain) deserves a separate nod for her contributions, routinely drawing focus during the group numbers due to the sharp fluidity and intense focus she brings to her movement and overall presence.
Upright Theatre provides an excellent excuse to plan a night out, giving audiences a firsthand look at the immense technical effort and talent driving the local theater community. If you want to experience this impressive display of medieval theater firsthand, head over to https://www.uprighttheatre.org/ to book your seats.
Now you know, so go see the show!
Troy
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