CAMELOT!! - this epic Lerner and Loewe musical on a middle school stage? The brave insanity of Starlight Dinner Theatre Director Linda Granger made it happen, expanding the stage with a dramatic ramp that allowed for creative blocking and more space to play. Her Director’s Notes credit the two key ingredients she needed to take on this show: “a great costumer and a great King Arthur” and she was blessed with both. The many, many stunning costumes by Costume Designer/Seamstress Chris Kennedy evoked the period and we’re a joy to behold. Marty Underhill delivered an Arthur with charm and depth, and a beautiful voice that came through despite a few microphone problems.
Paula Sheynerman was another star, with the voice, beauty, and acting chops to embody the multi-faceted Guenevere. Joe Baumann was appropriately stalwart and obnoxious as Lancelot, but with a noble charm, sincerity, and sensitivity under his bravado that made us understand how Guenevere could fall for for him in spite of herself. Josh Martin was a puckishly evil Mordred, gleefully throwing a monkey wrench into the “don’t ask don’t tell” status quo, bribing his mysterious, magical, candy-holic aunt Morgan Le Fey (Charlotte Ruppert) to imprison Arthur in the forest.
Bill Woodland’s last great set before a well-earned retirement was versatile and efficiently changed by the cast of 23 humans - plus one dog. Set changes were quick, but even with a couple songs cut, this remains one of those traditional, long shows of the early 60s clocking in at three hours, even without the intermission. But it’s three hours of classic songs we know and love, well choreographed by Elizabeth Todd (and fight choreographed by Austin Elieff.) Fresh faced young Wyatt Beasley as Tom of Warwick, was probably up past his bedtime, as he carried the Camelot legend/ideal into the future.
James Geer rehearsed/taught the music and led the intrepid 5-piece orchestra (that I’m told survived having to switch out a failed electric keyboard for a piano, mid-show!) Tech/lights/sound were not without glitches, but I have performed with Starlight and know the time limits the middle school imposes on rehearsals, due to custodian-hours. How could a show of this magnitude be completely smoothed out in a week? The show was bigger than any tech issues, and it will only get smoother as the run continues - Saturday night, and next weekend Friday/Saturday and a Sunday “dessert only” matinee. Reservations are required for the tasty buffet chicken dinner (great cheesecake, too); and reservations are also recommended for show-only tickets $18, though some may be available at the door. (Dinner 6:30; show 7:30 — Sunday dessert at 1 and show at 2 pm).
If you love Camelot, you will not be disappointed, and if you’ve never seen it, this is a great opportunity to experience a classic.www.starlightdinnertheatre.com
Reservations - 243-6040
Paula Sheynerman was another star, with the voice, beauty, and acting chops to embody the multi-faceted Guenevere. Joe Baumann was appropriately stalwart and obnoxious as Lancelot, but with a noble charm, sincerity, and sensitivity under his bravado that made us understand how Guenevere could fall for for him in spite of herself. Josh Martin was a puckishly evil Mordred, gleefully throwing a monkey wrench into the “don’t ask don’t tell” status quo, bribing his mysterious, magical, candy-holic aunt Morgan Le Fey (Charlotte Ruppert) to imprison Arthur in the forest.
Bill Woodland’s last great set before a well-earned retirement was versatile and efficiently changed by the cast of 23 humans - plus one dog. Set changes were quick, but even with a couple songs cut, this remains one of those traditional, long shows of the early 60s clocking in at three hours, even without the intermission. But it’s three hours of classic songs we know and love, well choreographed by Elizabeth Todd (and fight choreographed by Austin Elieff.) Fresh faced young Wyatt Beasley as Tom of Warwick, was probably up past his bedtime, as he carried the Camelot legend/ideal into the future.
James Geer rehearsed/taught the music and led the intrepid 5-piece orchestra (that I’m told survived having to switch out a failed electric keyboard for a piano, mid-show!) Tech/lights/sound were not without glitches, but I have performed with Starlight and know the time limits the middle school imposes on rehearsals, due to custodian-hours. How could a show of this magnitude be completely smoothed out in a week? The show was bigger than any tech issues, and it will only get smoother as the run continues - Saturday night, and next weekend Friday/Saturday and a Sunday “dessert only” matinee. Reservations are required for the tasty buffet chicken dinner (great cheesecake, too); and reservations are also recommended for show-only tickets $18, though some may be available at the door. (Dinner 6:30; show 7:30 — Sunday dessert at 1 and show at 2 pm).
If you love Camelot, you will not be disappointed, and if you’ve never seen it, this is a great opportunity to experience a classic.www.starlightdinnertheatre.com
Reservations - 243-6040
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