Tim Rogan

Camelot is based upon "The Once and Future King" by T. H. White. The 1960 Broadway version featured Richard Burton as Arthur, Julie Andrews as Guinevere, and Robert Goulet as Lancelot. Goblet led a production to the Bushnell many years ago when he assumed the role of Arthur.

The musical tells the Arthurian Legend, which includes the Knights of the Round Table; the current rendering wisely accentuates the love triangle which includes Arthur, Lancelot (Tim Rogan), and the lovely/loving Guenevere (the absolutely illuminating Mary McNulty). The distinctive look, feel, and musical orchestrations set the production apart. Kevin Depinet's set design includes floor to ceiling frond-like structures stage left. Behind, the sky is a sweet blue and the clouds fluffy and cumulus. This could be an enchanting land.

Arthur begins the show with the familiar "I Wonder What the King Is Doing Tonight" and Bruchwalski is capable. McNulty follows with "The Simple Joys of Maidenhood" which leads to the title number, presented first by Arthur and then Guenevere. Lancelot makes his appearance with "C'est Moi." Guenevere and others combine voices on "The Lusty Month of May." The first act is solid if not transcendent.

Steven M. Bishop (musical supervision and additional orchestrations) and Marshall Keating (musical direction) provide distinctive contributions. The drum sequences are arresting at the beginning of the presentation and during various intervals. The modifications to the original score triumph. The second act features the musical number to forever remember, and Rogan brings "If Ever I Would Leave You" with a combination of beauty and drive. Further, the musical team's election to introduce the tune with the actor singing (not in major key) to a solo cello is brilliant. Later as the number evolves, conductor Keating (also on keyboards) adds other instrumentalists. Jeffrey Snider is the percussionist, Michel Gohler is the reed player, and Alexander Domschot plays guitar and lute. Eric Eaton is the talented cellist.

The cynical and amusing Mordred (Kasidy Devlin) spices up the final portion of the production as he mockingly chortles with great glee. "Fie on Goodness" is a highlight! Mordred hopes to get Arthur out of the picture and he is just nasty enough to facilitate. Additionally, Mordred and Lancelot execute a pretty nifty sword fight. Actor Mark Poppleton is double cast as Merlyn and King Pellinore and he succeeds with both.

Ultimately, Camelot is the story of three decent people who are emotionally entangled with one another. Thus, it is both contemporary and eternal. McNulty has made the part of Guinevere her own: she is convincing and her performance is warm and heartfelt. It is a joy to hear her sing. Rogan, as Lancelot, exudes strength and vitality. The initial evening at the Hartford must have missed Grabau's presence. In his stead, Bruchwalski maintains. He does not carry the gravitas and presence necessary to find Arthur's major essence. Bruchwalski's vocal contributions are not to be slighted. He can sing and he is able.

In summation, this Camelot wonderfully avoids opulence. Instead, it is alive and unique through its imaginative detail.

Camelot, with music by Frederick Loewe and lyrics and book by Alan Jay Lerner, continues at the Bushnell Theater in Hartford through April 26th, 2015. For tickets, call the box office at (860) 987-5900 or visit bushnell.org. For more information on the tour, visit www.camelottour.com.

Photo: Mark Steven

- Fred Sokol