Well-Cast ‘Camelot’ Loads Of Talent, In Voice And Presence, Fill The Stage In Mid-Budget Touring Production Of ‘Camelot’

“Camelot,” Friday, Jan. 20, Spokane Opera House

This touring production of “Camelot” was a serviceable version of this Lerner and Loewe classic, with at least one outstanding performance.

However, it was not quite the caliber of the best Broadway touring shows.

This was most evident down in the orchestra pit. While a big-budget show like “The Sound of Music,” which played Spokane two weeks ago, had an orchestra of 19, this show’s “orchestra” consisted of seven people. All of the lush orchestration was played on synthesizers, supplemented with one lone trumpeter and one lone reed player.

This was also evident in the sets, which were on the simple side. No big massive castle interiors here.

However, all of this proves only that the production was mid-budget, and the size of the budget is not exactly the most important element when it comes to quality. The talent is the key, and this cast had plenty of talent.

The clear standout was Daniel Narducci as Lancelot. From the first moment this young baritone appeared on stage, dressed all in silver chain mail, it was clear we were in the presence of an extraordinary talent. In both voice and looks, he reminded me of opera star Thomas Hampson.

His voice is rich and deep and beautifully controlled. His version of “If Ever Would I Leave You” earned an ovation that was nearly as long as the applause at the final curtain.

And he is also a good actor, making Lancelot appear to be pompous and egotistical, but not in a phony or self-obsessed way. He squeezed some genuine laughs out of that paean to self-congratulation, “C’est Moi.” With his looks, his voice, and his acting skills, Narducci will be in plenty of demand both in opera and in musicals.

The other strong performance belonged to James Warwick as King Arthur. I did have some mixed feelings about some aspects of his performance. For one thing, he brought a surprising amount of silliness to the role. At times, he reminded me of a Michael Palin version of King Arthur. This worked well during the early scenes where Arthur is still “Wart,” but was a little disconcerting with the later, more mature Arthur.

Also, I thought Warwick hammed it up a bit too much, Richard Harrisstyle, in the climactic scenes which ended both acts (“Vengaaaance! May God have mercy on us all.”). With his big gestures, he was almost like a 19th-century Shakespearean.

However, Warwick brought some immense gifts to this part. First, he has a deep, warm and richly expressive speaking voice, which lent just the right touch of regality and drama to his serious scenes. Also, his readings of his songs, especially “I Wonder What the King Is Doing Tonight,” were full of wit. He doesn’t have a strong singing voice, but he doesn’t need one for this part. He has excellent phrasing and a good sense of the meaning behind the lyrics. Overall, I thought Warwick was an asset in the role.

Also deserving of mention is Chad Borden, who made a nasty and mischievous Mordred. This can be one of the best parts in the whole show for the right actor, and Borden was the right actor.

One disappointment was Constance Curtis as Guenevere. Although she has good stage presence and acting skills, her singing voice was not quite up to the challenge. It is overloaded with vibrato and was often off-pitch.

MEMO: This sidebar ran with story: HIGHLIGHT Daniel Narducci’s stunning version of “If Ever Would I Leave You”