There’s So Much to Love About The Engeman’s Lavish Production of “Camelot”

Cindi Sansone-Braff The Patch

“The Lusty Month of May” is the perfect time for a revival of the four-time Tony Award-winning musical “Camelot.” The John W. Engeman Theater turns back time and, for one brief shining moment, brings the Golden Age of Broadway to Long Island audiences. Inspired by the collection of fantasy novels, “The Once and Future King,” by T.H. White, “Camelot” opened on Broadway in 1960 with music by Frederick Loewe and book and lyrics by Alan Jay Lerner, featuring a blockbuster cast that included Richard Burton, Julie Andrews, and Robert Goulet.

Set in the mythical kingdom of Camelot, the story follows King Arthur’s altruistic dream of building a utopian society governed by chivalry, justice, honor, and compassion. His ideals are tested when his wife, Queen Guenevere, falls in love with Lancelot, a young knight, putting the future of Camelot in jeopardy.

Montgomery Sutton delivered a nuanced performance as King Arthur, an ordinary man affectionately nicknamed “Wart” in his youth, who became king by kismet rather than by royal birthright. The show opens with Sutton showcasing his warm tenor in the humorous song “I Wonder What the King Is Doing Tonight,” which presents King Arthur as a witty, likable yet nervous and insecure man. Sutton’s heartfelt delivery of the show’s signature song, “Camelot,” was one of the production’s highlights. At the end of Act I, Sutton’s intense facial expressions revealed the inner struggle Arthur was experiencing as he tried to understand what Lancelot and Guenevere were going through and how he should respond.

As a civilized king, he realized they had not asked for this calamity. He ponders, “Can passion be selected?” He resigns himself to the fact that “violence is not strength and compassion is not weakness,” and decides to act with integrity. Sutton’s impassioned delivery of the reflective ballad “How to Handle a Woman” was a tender onstage moment, allowing the audience to experience the depth of Arthur’s love for his wife despite the hurt and betrayal he was going through.

Liv Kurtz was perfectly cast as the beautiful and conflicted Guenevere. With her magnificent, crisp soprano, reminiscent of a young Julie Andrews, Kurtz delivered a charmingly playful rendition of “The Simple Joys of Maidenhood,” in which she reveals her fears of losing her freedom if she marries into royal life. A showstopping number was “The Lusty Month of May,” in which the Knights, Ensemble, and Guenevere celebrate spring, a shocking time of year, “When tons of wicked little thoughts merrily appear.” The full range of Kurtz’s angelic voice was revealed in the heartbreaking ballad, “I Loved You Once in Silence.”

Alexander Ríos delivered a commanding performance as the valiant Lancelot, an arrogant man quite smitten with himself, strutting across the stage and singing the comedic introductory song “C’est Moi.” At first, Guenevere feels nothing but disdain for him. However, Lancelot begins to reveal a more introspective side to her when he says, “But the refining of the soul is an endless struggle.” Act II opened with Ríos’s beautifully executed version of one of Broadway’s most beloved romantic ballads, “If Ever I Would Leave You.” The electrifying onstage chemistry between Ríos and Kurtz made their delivery of the heartrending duet, “Before I Gaze at You Again,” an unforgettable theatrical moment.

Liv Kurtz was perfectly cast as the beautiful and conflicted Guenevere. With her magnificent, crisp soprano, reminiscent of a young Julie Andrews, Kurtz delivered a charmingly playful rendition of “The Simple Joys of Maidenhood,” in which she reveals her fears of losing her freedom if she marries into royal life. A showstopping number was “The Lusty Month of May,” in which the Knights, Ensemble, and Guenevere celebrate spring, a shocking time of year, “When tons of wicked little thoughts merrily appear.” The full range of Kurtz’s angelic voice was revealed in the heartbreaking ballad, “I Loved You Once in Silence.”

Alexander Ríos delivered a commanding performance as the valiant Lancelot, an arrogant man quite smitten with himself, strutting across the stage and singing the comedic introductory song “C’est Moi.” At first, Guenevere feels nothing but disdain for him. However, Lancelot begins to reveal a more introspective side to her when he says, “But the refining of the soul is an endless struggle.” Act II opened with Ríos’s beautifully executed version of one of Broadway’s most beloved romantic ballads, “If Ever I Would Leave You.” The electrifying onstage chemistry between Ríos and Kurtz made their delivery of the heartrending duet, “Before I Gaze at You Again,” an unforgettable theatrical moment.

James Kelley Carroll gave an award-worthy performance as Mordred, Arthur’s narcissistic illegitimate son, who arrives in Camelot hellbent on usurping the throne. Mordred reveals his lack of conscience and warped sense of morality in his dark, satirical solo “The Seven Deadly Virtues.” Carroll’s villainous scowl and sinister body language sent chills down my spine.

The three multitalented Knights, Christopher deProphetis as Lionel, John Alejandro Jeffords as Dinadan, and Riley Wesson as Sagramore, were outstanding in their roles, as was Derek Martin Hough as Tom, a young, idealistic boy who ran away from home to join the Round Table. Max DeLuca understudies Tom. The top-notch ensemble includes Jack Baylis, Jaz Gomez, Lily Grubert, and Israel R. Hillery.

“Camelot” is a surprisingly in-depth exploration of love. King Arthur and Lancelot’s love for Guenevere represents eros, passionate, romantic, sensual love, whereas his brotherly love for Lancelot is a perfect example of philia. During the “Finale Ultimo,” King Arthur demonstrates agape, unconditional love for humankind, when he knights Tom and commands him not to fight, but to travel back home to spread the legend of Camelot to future generations. Arthur then demonstrates his love for his Maker by recognizing that the outcome of the war was beyond his control and that he must leave the decision to God.

A big round of applause goes to Engeman’s outstanding creative team. Expertly directed by Drew Humphrey, brilliantly choreographed by Alyssa Sarnoff, with precision-perfect musical direction by David Wolfson, a bedazzling storybook set by Kyle Dixon, and breathtaking costumes by Dustin Cross, the team brought the magical world of Arthurian legend to life.

In the Director’s Note, Humphrey said it best, “As we journey through this legend, I invite you to be patient with yourself. Let your empathy and introspection guide you. This story asks us to sit in the gray space between right and wrong, to relate, forgive, struggle, and empathize.”