Solid Cast Beats ‘Camelot’ Staging Problems

Smart casting--from stars David Birney and Dale Kristien on down the line--redeems the Theater League’s sometimes pedestrian rendition of “Camelot,” at Probst Center in Thousand Oaks this week and the Alex Theatre in Glendale next week.

Especially at the beginning, Don and Bonnie Ward’s staging is weighed down by the clunky, uncredited set (originally from the Walnut Street Theatre in Philadelphia). On both sides of half-baked glimpses of the countryside scenery are sweeping castle staircases, presumably too heavy to move back and forth off the stage.

This leads to questions of exactly where we are, and it limits the space available for the action, encouraging stiffness in the blocking. Worse, it fails to suggest a magical environment. This Camelot hardly resembles the “enchanted spot” that’s described in Alan Jay Lerner’s lyric.

However, the star performances overcome this--as well as an occasionally harsh sound system.

Birney capably bridges the gaps between the young, neurotic King Arthur, the agonized older statesman and the thrilling idealist of the closing scene. His singing is sufficiently assured and his rendition of Arthur’s first-act curtain speech is crisp and moving in a manner that reflects classical chops.

Kristien’s fluttery soprano is as appropriate for Guenevere as it was for Christine in “The Phantom of the Opera,” with a particularly resonant moment at the end of “Before I Gaze at You Again.” She’s fully committed to being a spoiled princess and an audacious flirt in the first act, but later she convincingly achieves regal grandeur.

Likewise, Stephen Bishop begins his performance as Lancelot with juvenile antics not far removed from those he performed as Gaston in “Beauty and the Beast”--and they’re strikingly apt, for “C’est Moi” is something that Gaston might have sung if he were feeling especially sanctimonious. But then, in his big moment near the end of Act 1, Bishop transforms into a mature knight before Guenevere’s eyes, as well as ours, and he leaves no doubters.

The supporting cast is full of talent, with Paul Kent as an easy-to-take Pellinore and John Dewar as an easy-to-hiss Mordred. It’s fun to watch Sam Zeller’s big, brawny Sir Lionel being wrapped around Guenevere’s little finger in “Take Me to the Fair.”

Is there time to correct the spelling of composer Frederick Loewe’s name on the title page of the program before this show moves to the Alex? Inspired by the parting words of King Arthur, here’s hoping for the best.

* “Camelot,” tonight-Sunday: Probst Center, Thousand Oaks Civic Arts Plaza, 2100 E. Thousand Oaks Blvd., (805) 583-8700, (213) 480-3232, (714) 740-2000. Tuesday-May 11: Alex Theatre, 216 N. Brand Blvd., Glendale, (800) 233-3123. Tuesdays-Fridays, 8 p.m.; Saturdays-Sundays, 2 p.m.; Sundays, 2 and 7 p.m. Ends May 11. $32.50-$37.50. Running time: 2 hours, 50 minutes.

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“Camelot,”

David Birney: King Arthur

Dale Kristien: Queen Guenevere

Stephen Bishop: Lancelot

Vernon Willet: Sir Dinadan

Sam Zeller: Sir Lionel

Daniel Guzman: Sir Sagramore

Paul Kent: Pellinore

John Dewar: Mordred

Jerry Scurlock: Merlyn

Kathryn Skatula: Nimue

Daniel Blanco: Squire Dap

Pamela Hamill: Morgan LeFey

Andrew Dorsett: Tom of Warwick

A Theater League production. Book and lyrics by Alan Jay Lerner. Music by Frederick Loewe. Directed by Don and Bonnie Ward. Musical director Lloyd Cooper. Lights by Kim Killingsworth. Sound by Mark Cowburn. Wardrobe by Renee Van Niel. Hair by Monica Sabedra. Additional scenic elements by John Patrick. Production supervisor John M. Galo. Production stage manager B.J. Allen.