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“Camelot” better than average musical

“Camelot.” By Alan Jay Lerner and Frederick Loewe. Produced by Julie Blumsky. Musical direction by Barrie Shakes. Christchurch Operatic Society. Theatre Royal. March 20 to April 3. Running time: 8.00 to 11.00.

In local musicals, acting skill seems to be often regarded as subordinate to vocal prowess, and the movement of the principals tends to be cursory and stylish. It is thus a pleasant surprise to find in “Camelot” actors who are allowed to act and dialogue which is sensitively pointed. Not only does this lessen the onus placed on the singing potential, but it also means that the production will have more appeal to general audiences who are not necessarily devotees to the musical as an entertainment form.

An excellent lead is given to the cast in Grham Robinson’s King Arthur; the role is much more difficult than one might have imagined, demanding a number of fine transitions from the comic to the dignified, and with them delicate manipulation of audience sympathy. Ail this Mr Robinson handled superbly: his narration to Guenevere (Diane Johnston) of his accession to kingship carried a sudden deepening in intensity which he repeated : several times in his performance. His voice tended to be competent rather than spectacular, but complemented his singing with excellent movement and subtle facial manipulation. His best number was “How to Handle a Woman,” but he made a good combination singing with Diane Johnston and their “What do the Simple Folk Do,” was the vocal high point of the programme. It is surprising to find Arthur Chapman cast in a ; non-singing role, but the incongruous buffoonery he gives to Pellinore is easily the 'most hilarious element in the J show, and his every appearance brings welcome relief to 'mounting tensions. Paul Manson is a remarkably versatile young actor with an impresive all-round

talent; his portayal of Mordred gave a strong and very necessary contrast to the mood and style of the court. As Merlyn, Colin Alexander contributed to a splendidly haunting scene when he was called back from Camelot by Zylpha Chaaerton’s recorded voice.

The emphases of the production are so well, controlled that they effectively disguise the weaknesses: the choreograph, though adequate, is unenterprising, the chorus is disappointing in the the first act (although it does improve in “The Jousts” and “File on Goodness”), and the orchestra on the first night had its surprises. The quality of John Roberts’s scenery varies, but the costumes of Carole Evans include some resplendent pieces which the actors generally carry very well indeed. —H. D. McN.

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Permanent link to this item

https://paperspast.natlib.govt.nz/newspapers/CHP19710322.2.113

Bibliographic details

Press, Volume CXI, Issue 32561, 22 March 1971, Page 16

Word Count
427

“Camelot” better than average musical Press, Volume CXI, Issue 32561, 22 March 1971, Page 16

“Camelot” better than average musical Press, Volume CXI, Issue 32561, 22 March 1971, Page 16