Medieval love triangle, modernized

Music Theater Works (MTW) ambitiously takes on some of the problems with Alan Jay Lerner and Frederick Loewe’s formless and dated book, keeping our focus on Arthur (Michael Metcalf), Guenevere (Christine Mayland Perkins), and Lancelot’s (Nathe Rowbotham) love triangle. In her program notes, director Brianna Borger explains, “Our Camelot envisions a troupe of revelers outside of time and space, who have taken this expansive tale and distilled it into what has always lived at its core: a story of humanist ideals, hope, and love.”

Camelot Through 11/13: Wed 1 PM, Fri 8 PM, Sat 2 and 8 PM, Sun 2 PM, North Shore Center for the Performing Arts, 9501 Skokie Blvd., Skokie, 847-920-5360, musictheaterworks.com, $39-$106

The setting is the medieval ruins of a castle. Hurrying on- and offstage, cast members gleefully narrate temporal bridges in the story. Lancelot spends the show in skinny jeans and Doc Martens. Parker Guidry, excellent as the villainous Mordred in act two, spends most of act one singing and dancing the role of one of Camelot’s resident maidens, and they are awesome doing it. 

Perkins is an excellent singer, and nicely conveys her character’s dismay as she is drawn between Arthur, whom she loves with her heart, and Lancelot, for whom she feels such unbridled passion. Metcalf knows how to belt out his songs, infusing Arthur with a refreshing boisterousness; many actors bring to Arthur their most brooding affects. Rowbotham makes Lancelot more thoughtful and plainspoken—the character’s grand pronouncements seem like humblebrags here. The show, which has undergone some heavy cuts, sometimes feels rushed, but the players and production team know where to find Camelot’s real heart.

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