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I was there for opening night of the show, and I was impressed. You will be too as this small theatre, which seats , adds this classic to their growing list of bigger-than-life productions. The play opens with our good King Arthur up a tree and Merlyn William Bruce Baird down below seeking the young sovereign.

It seems that a marriage has been arranged for Arthur, and our young, awkward king is experiencing a bit of trepidation. Leaping down to the ground, Arthur explains his apprehension, making evident the awkwardness and even innocence that is at the core of the boy wearing the crown. Mair, wonderfully adept at the knitted brow and a fidgety goodness that humanizes the king, immediately endears himself to the audience and sets a tone for what is to come.

Merlyn, a wizard of a man who has literally seen it all, has no doubt prepared Arthur for the stormy time ahead in this Bermuda Triangle of true love. Lancelot loves a mirror, a good battle, King Arthur, and, of course, Guenevere—not necessarily in that order. In this telling, what to do is to sing. And the singing is a highlight in this production.

With tremendous ballads to feast upon, Camelot lets its principals strut their stuff. You will simply be amazed at the quality of voices throughout this cast, but then this particular theatre has a reputation of musical excellence. You will be pulled into the show very deeply and immediately. Fair warning here, however: Certainly, there is nothing I would change in the staging, but consider the time commitment as you make your purchase decision.

Because of length, I also recommend the show only for audience members ages 12 and up. Whitaker as Lancelot makes us believe that it is only logical that he is the answer to most any prayer; whether you wish for a warrior or a lover, his name should be the natural answer. When a show has leads this strong, it is difficult to single out any particular actor as being extraordinary, so why try? From top to bottom, this cast is extraordinaire.

He also knows how to cast, bringing age and experience to play with young, fresh talent. This theatre seems to understand the role of community theatre; the Heritage Community Theatre provides an artistic presence where dawning talent is mentored by veteran experience, collectively bringing a fresh message to the community, and everyone is the better for it.

So there logically would be a diversity of ages in the group. There is a nice interaction between these players, and they work well together, moving the show along. What is a production of Camelot without its knights? The Sirs are worthy of their quests in this outing. Each of the actors is convincing in their combat-ready armor, brandishing broadswords that, in one case, would take a pickup truck to transport between battles.

If you crave the action of a swordfight or two, Camelot offers the real thing because these actors have trained for hours with a live combat-staging coach, Allen Smith , to safely bring the experience to life before an audience. Every show must have some comic relief. Sir Pellinore Aaron Linford is more than up for the job. I truly enjoyed the delivery of some of his best lines. Linford shows a gift for comic timing as he totes his huge broadsword and advises the king on any number of subjects.

The audience delighted anytime the character sets upon the stage. On a smaller stage like this one with essentially no wing space, efficiency of design is mandatory, but that never encumbers the action or the experience. I admit that a few times I wished for a more idealistic look or brighter shine from the stage set, but I quickly realized that with the pure numbers in this cast, it is the actors who should shine, not the backgrounds. Nedra Pace handles both the choreography and musical direction of this show, and she does so wonderfully.

It is difficult to make a large cast on a small stage look uncrowded, but that is exactly what Pace is able to do somehow. There was never a time in this show where I felt that too many were invited to the party. With the talents of all involved onstage, I am sure she had no lack of potential performers in any of the numbers, but she was able to make the look of each number and scene seem right-sized.

I enjoyed that aspect of this show. Another nice touch added is to replace traditional jokers and jesters with tumblers Lulu Hurd , Brooke Jacobson , Breanne Jacobson to change things up just a bit and to give young talent a bit of stage experience. Costumer Samantha Merkley and her seamstresses Tina Mair , Sharla Ream , Kelsy Singleton do an absolutely fantastic job of gowning the court with apparel that seems like a regal fashion show.

I recognized cloaks, gowns, and garb from other shows and venues around the state. Most of them had been a statement piece at those other places, and yet, because of the double-casting of this show, separate costumes had to be prepared for each Queen. This is no small undertaking but adds so very much to the production values of the show, it needs to be mentioned prominently.

On the technical side of the house where everything can go wrong in a heartbeat on opening night or really on any night , there was a minor glitch in this performance where a mic was left open once and both the audience and the royal couple heard the correction.

These things do happen in live theatre but are a rarity at this venue. A quick correction handles the situation easily. Marci Lemke sound design and music operator , John Harlow light design , Amanda Mayne , Hydee Weeks , Spencer Nelson technical operators , and Wes Geilman stage manager do an admirable job of highlighting others while not being noticed themselves.

I saved the featured players of the group for last here, but that does not mean they went unnoticed. Squire Dap Greg Lemke seems to be everywhere in this play, rounding out and mentoring the action without absorbing too much of the spotlight as he helps others shine.

As mentioned, this show is double-cast, literally. The role of Guenevere is shared in this run by two well-established and qualified actresses who bring a very high quality to the stage.

I was able to see Clark on opening night and was dazzled by her voice and portrayal of this difficult role. Guenevere must win us over as she tells the young Arthur of her thoughts of being admired and even ravished, but at the same time keep us cheering for her happiness as things progress.

A difficult task, indeed, since we know that Lancelot is soon to complicate things. We were very lucky to have their schedules blend so nicely. And speaking of double-casting, Tom of Warwick Jaxon Baird, Ian Capener deliver a wide-eyed innocence to the real world as Arthur exhorts them to tell the world there once was a place, a thought, a dream of Camelot.

Some might say even too well. Young Austin Lemke endured a trampoline-related accident in May that resulted in two full-arm casts yes, he is truly double-casted , and a new young talent, Mair, accepted the challenge. I thoroughly enjoyed Camelot at the Heritage Community Theatre and believe you will as well. You will see high quality in a classic show and hear voices that will stay with you for days to come.

This is an economically priced, family-friendly theatre that would love to see you as a patron. I urge you to speak with one of the hosts and hear about the upcoming season or learn a bit of the history of this former church house turned into a modern theatre.

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Camelot lives on at Centerpoint Theatre in Centerville (TTHS) – Front Row Reviewers Utah

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