The Human Race Theater’s spring musical is a wonderful return to the golden age of Broadway with Lerner and Loewe’s Camelot. This smart and funny adaptation is a refreshing and truncated version of the original that delivers on all the familiar songs in a pared down, simple retelling of Britain’s famous story of the “Boy Who Would Be King.”
The Plot of Camelot
Adapted by David Lee, Camelot tells the story of King Arthur, Lady Guenevere, and Sir Lancelot as they create the famous shining city on a hill (Camelot), establish the knights of the round table, and work to define virtue and morality in an age of chivalry and civility. Things go awry when romantic intrigue between Lady Guenevere and Sir Lancelot threaten to unravel the societal expectations of high society in all of its virtue signaling grandeur. The plot thickens in the second act when Arthur’s illegitimate son, Mordred, conspires to trap the ill-fated trio in a no-win situation that pits friend against friend and lover against lover.
Lerner and Loewe’s original score and libretto have gone on to inspire numerous parodies and spin offs such as Monty Python’s Spamalot, ABC’s Galavant, and even gives a nod to Rob Reiner’s The Princess Bride. True to form, Camelot is silly, smart, and harkins to an age when theater was joyous and entertaining. HRT’s production provides a wonderful evening of escapism allowing audiences to forget their real world woes in exchange for a juicy love triangle, familiar songs, and a silly, refreshing take on a Broadway classic.
HRT’s Camelot Has a Satisfying Cast
Unlike the original production, David Lee’s adaptation of Camelot significantly pairs down the length of the musical and shrinks the size of the cast. The “small cast version” features a total of eight actors including Adam Thatcher as King Arthur, Aleah Vassell as Lady Guenevere, and Trevor Bunce as Sir Lancelot. The trio are supported by a delightful and comedic ensemble that includes Justin King as Mordred, Jason Slattery as Dinadan, Tai Rosenblatt as Sagramore, Christian Hall as Lionel, and Shannon Lane as Tom.
The leading trio shines vocally and comedically with a stand out performance by Trevor Bunce as Lancelot. Bunce’s rich baritone voice fills HRT’s the Loft Theater with a silky vibrato and a humorous confidence that is only outmatched by his luscious locks of hair. Aleah Vassell shines as Lady Guenevere with her classically trained soprano voice soaring into the rafters. Adam Thatcher as King Arthur brings a grounded sense of questioning nobility and paints Arthur as a kind but conflicted king.
The ensemble strongly supports the leading players by offering traditional harmonies and simple but effective choreography that at times makes it feel like there are more than eight people on the stage. Overall, the cast does a wonderful job of drawing audiences in and sharing the joy of live performance.
Impressive Orchestra
The cast is backed by a seven person orchestra, directed by Ian Axness that includes Kerrigan Mandrell on violin, Jule Min on cello, James Wiederhold on woodwinds, Ian Axness on keyboard, Ben Grabbell on bass, Felicia Dellis on percussion, and Bradley Cordonnier as the percussion sub. All the more impressive is the orchestra sits behind the scrim and is unseen by the audience or actors making music cues and timing a challenging obstacle that the cast overcomes with ease.
I did wonder if bringing the musicians on stage as a set of minstrels would have added another layer to the retelling while providing a few more bodies to give the sense of a larger cast.
Creative and Simple Production
The adage goes, if you do something simple, you have to do it well. Both are true in this production. Scenic Designer Charlie Calvert makes use of a revolve (aka a revolving stage) that offers versatility and movement for the actors on stage. A set of three benches comprises most of the playing space and are used for a myriad of reasons to shift time, space, and setting. A very clever use of the revolve happens in act one to simulate a jousting tournament that is both clever and silly all at the same time. The upstage set pieces create depth and offer arches and alcoves that transform throughout the play to create different locations and rooms.
A stellar production team including Mackenzie Perin as technical director, Diane Ferry Williams as lighting designer, Kaitlin Barnett Proctor as sound designer, Sarah Gomes as properties designer, and Molly Walz as costume director, creates a simple but highly effective experience with nods to celtic imagery and creates the essence of Stonehenge.
Outstanding Company Leadership
It’s no secret that I am a huge fan of the Human Race Theater Company. HRT’s refreshing approach towards professional regional theater gets so many things right. Executive Director Kappy Kilbun, Artistic Director Emily Wells, and Creative Producer Tara Lail bring thoughtful expertise to the company that keeps me coming back every time. The company’s approach towards inclusivity and equality is clearly visible while programs such as “Certified Human Night,” “pay what you can,” and “parents day out,” create affordability and accessibility to quality professional theater.
With the upcoming 2025-2026 season celebrating their 40th anniversary, there is a lot to love and a lot to look forward to.
Overall
HRT’s Camelot is a smart and funny updated retelling of a classic Broadway throwback. This production reminds audiences that theater can be simple, enjoyable, and highly entertaining when done right.
Tickets to HRT’s Camelot
Camelot runs March 26 through April 13, 2025 at the Loft Theatre. Parents’ Day Out is Sunday, April 6 at 2:00pm and offers a free theater workshop for children while their parents attend the show. Special performances also include a pre-show conversation in the lobby with Artistic Director Emily Wells and members of the creative team on Thursday, March 27 at 6:45pm and a candid, post-show conversation on Sunday, March 30 at 2:00pm.
To purchase tickets, visit humanracetheatre.org or call the box office at (937) 228-3630. Tickets are selling fast.
