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Wednesday, Apr. 13, 2005 - 7:12 p.m.

What's up?

We had our last Theatre Appreciation quiz yesterday, and I think I got 100. Now there is just the big 100 question final. I turned in my third performance review and have one more left to write for completion of up to 100 points of extra credit. I have 100 over all so far according to the monthly evaluation I have to turn in to my case manager, but I may need every point I can get after the final. Last semester I had an 84 in a final, and the semester before I had an 87. My class grades and extra credit got me an A in both, but I would hate to ignore any extra points.

I felt guilty about my review. It was not a positive one. The reviews are not supposed to be about our personal feelings about the performances but about the success certain play criteria. I had never seen Camelot in any form but I have read Once and Future King, listened to the songs, read synopses over the years and generally had an idea of what was going on. This was my impression of our local production:

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Camelot

The M Foundation�s winter production of Camelot suffered from twin foes, hamartia and hubris, the fatal flaw and fatal pride so prized in Greek tragedy. This play was not meant to be a tragedy, however, but the light-hearted musical so popular through the years.
The M group succeeded in impressing us with the costuming. Gorgeous gowns for the ladies and swash-buckling knee-high leather boots for the men lent color and interest to the extravaganza, but inattention to some major logistical problems provided the play�s flaws, and N�s wimpy portrayal of King Arthur may have been a result of pride. N does have a magnificent singing voice and his songs were very well presented, but his acting voice and mannerisms gave a callow flavor to Arthur. T. H. White�s Once and Future King may have been na�ve in some areas but he was never weak.
In contrast,gg�s Guenevere was feisty enough in action, but her enunciation and voice amplification (or lack of) in the faster-tempo songs made the lyrics hard to follow in any but the front sections of the theatre. Another contrast, awkward this time, was the difference in height between Lancelot who was very tall and Guenevere who was very short. This difference was distracting in the scenes where they shared tender moments alone. Background scenery and props were simple, yet attractive and believable and the cast�s entrances and exits enmasse were credible, except for one amusing exit when a maiden accidentally fell off a bridge in the background. One disturbing element of the props was a rather shaky tree in which Arthur was hiding, and from which we wondered if he would be able to disembark safely after spying on Guenevere.
Although the production as a whole was disappointing, there were satisfying bits and pieces in unexpected places. The jousting scene was brightened by the enthusiastic acting and singing of a rather large young maiden and a rather bald young courtier who stood out joyously in the chorus.
With ten scenes in the first act, and six in the second, things were dragging long before the grand finale and even the Camelot Reprise failed to captivate for long. The performance of this Broadway and Hollywood classic never reached the grandeur of which it was capable, and the M Foundation is capable of more, too.

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