So-So Camelot Lacks Energy

The classic tale of King Arthur and the Knights of the Round Table is told in Camelot, which opened Dec 9 at Providence Performing Arts Center and runs through Dec 14. However, the production, which was directed by Michael McFadden, is plagued by a lack of energy and mostly forgettable songs by famed composers Alan Jay Lerner and Frederick Loewe.

The story begins when King Arthur (Adam Grabau) meets Guinevere (Mary McNulty) in the forest. They soon fall in love. But Arthur is unhappy. Triumphs in war bring him no comfort, and he loses his beloved confidante Merlyn (Mark Poppleton), who he relies on for sage advice. With the encouragement of Guinevere, Arthur creates the knights of the round table as a way to bring honor to his kingdom. Guenevere is soon smitten by the dashing Lancelot (Tim Rogan), who boasts of his physical perfection. What woman could possibly resist that? Before long, they are ensconced in a passionate love affair that serves to torment them both. The second act is enlivened considerably by the arrival of Mordred, who turns out to be Arthur’s illegitimate son. Mordred is an impish troublemaker and as played by Kasidy Devlin, he is quite a charming rogue.

There’s no faulting the performances by the lead actors. Grabau has a dynamic stage presence and looks great in the medieval costumes. Arthur has a lovely duet with Guinevere, “What Do the Simple Folk Do,” but otherwise is a self-obsessed bore. Guenevere, as played by McNulty, fares a bit better. She demonstrates real vulnerability as well as a sense of entitlement. Being a queen is her destiny. McNulty shines when she sings “Before I Gaze at You Again,” her plea to Lancelot at the end of Act One. Rogan is also a fantastic singer, who gives a powerful vocal on “If Ever I Would Leave You.” Poppleton, who also plays King Pellinore, has some genuinely funny line readings. His final appearance as Merlyn was imaginatively staged.

The scenic design by Kevin Depinet is mostly lackluster. A mammoth steel structure is meant to simulate a tree in the forest where Arthur takes refuge. It just looks tacky. Another scene features what resembles oversized rose petals jutting out of the sky.

Camelot debuted in 1960, just as the fabled presidency of John F. Kennedy was beginning. The optimism and sense of honor embodied by King Arthur became intertwined with Kennedy’s vision for America. However, Arthur’s nobility and insecurities don’t make for a compelling story, and Camelot takes itself far too seriously to be much fun.

Camelot runs through Dec 14 at Providence Performing Arts Center, 220 Weybosset St. For tickets, call 401.421.2787.