Views
3 years ago

CameLot - Stratford Festival

CameLot - Stratford Festival

One Brief

One Brief ShiningMomentby Lois KivestoBelow | Director Gary Griffin and Assistant Director Rachel Peake inrehearsal. Facing page, left to right from top| Geraint Wyn Davies(King Arthur); Jonathan Winsby (Lancelot) and Kaylee Harwood (Guenevere);Company Members Julius Sermonia and Ryan Gifford. Following page |Brent Carver (Merlyn) and Monique Lund (Lady Anne); mike Nadajewski(Mordred); Jonathan Winsby; Members of the company.Photography by Erin Samuell.In short, there’s simply notA more congenial spotFor happ’ly-ever-aftering than hereIn Camelot.After the resounding successes of My Fair Lady(1956) on stage and Gigi (1958) on film, public andpress awaited with eager curiosity the next musicalcollaboration of lyricist-librettist Alan Jay Lerner andcomposer Frederick Loewe.In the summer of 1958, production manager Stone“Bud” Widney proclaimed: “Lerner, here’s your nextshow.” He had just read, as had Lerner, a New YorkTimes book review of The Once and Future King,T. H. White’s whimsical epic chronicle of King Arthurand the Round Table. In December 2010, at the timeof Camelot’s fiftieth anniversary, Widney recalledthe sense of a “big idea” in White’s book.Moss Hart, director of My Fair Lady, was intriguedby the potential project. Loewe, skeptical at first,became caught up in Lerner and Hart’s enthusiasm,and agreed to join them in creating and producingthe musical that would become Camelot.The Once and Future King is a quartet of bookspublished in one massive volume of more than600 pages, loosely based on Sir Thomas Malory’sLe Morte d’Arthur (1485). The first book, The Swordin the Stone, recounts King Arthur’s boyhood; thesecond, The Witch in the Wood, introduces the ideaof the Round Table. The next two books form thebasis of the musical: The Ill-Made Knight, named forLancelot, tells of his love triangle with King Arthurand Guenevere, and The Candle in the Wind marksthe end of King Arthur’s reign amid revolts led byhis son, Mordred.It was the daunting task of Lerner and Loeweto musicalize the sprawling, vivid tale. Lernerrespected Loewe’s incomparable “gift of pureclassic melody” and its importance in conveyingindividual character and the overall musical journeyin Camelot from “innocence to sophistication.”As score and libretto unfolded, casting began.The first selection was Julie Andrews, stillportraying Eliza Doolittle in My Fair Lady in London,as Guenevere. Hart invited Richard Burton to playKing Arthur. Six months into the creative process,only one role remained to be filled. In contrast toWhite’s depiction of “the ill-made knight,” dashingnewcomer Robert Goulet, trained at Toronto’s RoyalConservatory of Music, was cast as Lancelot.2

jesus Christ superstar - Stratford Festival
Summer/Fall Newsletter - Stratford Festival
study guide for As You Like It - Stratford Festival