REVIEW: Barrington Stage Company, “Camelot”

Barrington Stage Company, Pittsfield, MA

www.barringtonstageco.org

through July 19, 2025

by Michael J. Moran

Based on T. H. White’s 1958 novel The Once and Future King, "Camelot" tells the story of 6th-century King Arthur of England and his Knights of the Round Table, who became known for settling disputes not through war but through law and who attracted recruits from far and wide. When virtuous Sir Lancelot arrives from France, his growing love for Arthur’s Queen, Guinevere and the treachery of Arthur’s illegitimate son Mordred put the peaceful kingdom in peril.

Photo by Daniel Rader

With a book and lyrics by Alan Jay Lerner and music by Frederick Loewe, BSC’s enthralling production of the Tony-winning 1960 musical features a knockout cast of 17 talented singer-actors. Ken Wulf Clark brings a boyish charm to his exuberant portrayal of Arthur, who never loses his sense of wonder and curiosity about the world. The difference between his joyous take on the title song early in Act I and its more somber reprise at the end of the show is heartrending.

 

Ali Ewoldt is a resourceful Guinevere, who grows from a fearful girl in “The Simple Joys of Maidenhood” just before meeting Arthur to an achingly mature woman in “Before I Gaze at You Again” after falling for Lancelot. Emmett O’Hanlon as Lancelot finds the perfect mix of gravitas and humor introducing himself in “C’est Moi” and of rapture and vulnerability in his show-stopping ode to Guinevere, “If Ever I Would Leave You.” Ewoldt has remarkable chemistry with both her co-stars, more protective with Clark, more sensual with O’Hanlon.

Dakin Matthews offers rich comic portraits in the dual roles of Arthur’s mercurial teacher, the magician Merlyn, and of King Pellinore, a dotty more or less permanent house guest of Arthur and Guinevere. Danny Kornfeld’s gleefully malicious Mordred received an appreciative chorus of boos at his opening night curtain call. The men and women of the ensemble are versatile and seamless throughout.

Director Alan Paul (BSC’s Artistic Director) draws nuanced performances from his players and propels the action forward. Choreography by Brandon Bieber and Michele Lynch is graceful and witty, especially in “The Lusty Month of May.” Music director Darren R. Cohen’s eight-member band has outsize impact. Minimalist scenic design is by Lee Savage, tasteful costume design by Lia Wallfish and Ana Kuzmanic, and subtle lighting design by Christopher Akerlind.

BSC’s thrilling recreation of this musical theater classic is highly recommended to all audiences.