‘Camelot’ a keen mix of humor and drama

“Camelot”

Pittsburgh Public Theater

Friday through Sunday, O’Reilly… “Camelot”

Pittsburgh Public Theater

Friday through Sunday, O’Reilly Theater

$65.75

ppt.org or 412-316-1600

Pitt Arts Tickets: Students: $15.75, Faculty/Staff: $25.75

Grade: A-

King Arthur fans, take note: The Round Table can only host Pittsburghers for a few more days.

This is the last weekend to see King Arthur and company take to the O’Reilly Theater stage for a delightful Ted Pappas-directed rendition of the musical drama “Camelot.” Centered around an affair between Lancelot and Arthur’s wife Guinevere and the subsequent repercussions, the play is rife with both tragedy and humor.

The initially comical King Arthur (Hayden Tee) first appears onstage ordering a knight to wait until dawn to attack the traitorous Sir Lancelot (Keith Hines) and his lover Guinevere (Kimberly Burns).

Well-placed one-liners and strongly sung musical numbers ensue. The play goes back in time to the first meeting of Guinevere and Arthur — the latter of whom is coyly hiding in a tree because of his insecurities about marital commitment. The two actors’ fluid chemistry is immediately apparent, and the first song they sing together, entitled “Camelot,” demonstrates the immense time and effort put into the music direction of F. Wade Russo.

Keith Hines shows off his impressive vocals in Lancelot’s solo, “If Ever I Would Leave You,” and performs the most intricate sword fighting stunts in the play without a sweat. Apart from his questionable French accent, Hines effectively embodies the conflicted and pious knight.

For a large part of the play, lightheartedness abounds: The delirious old companion of Arthur, King Pellinore (Noble Shropshire), lends his character a believable ignorance, and the usually morose role of King Arthur’s illegitimate son and enemy, Mordred (Don DiGiulio), is decidedly gentler.

The set is simple, but works well with most of the scenes, only losing its authenticity when forest settings are required — the only change is a faint projection of trees behind the actors. The stage rests in the middle of the three sections, meaning those sitting near the front can hear the booming voices of the actors and see Lancelot make a dramatic entrance from the aisle stairs.

With costume changes from scene to scene, from the flowing, brightly colored gowns of Guinevere and the other actresses to the imperial metal armor worn by the knights, the clothing of the performers always satiates the eyes without seeming too theatrical or distracting.

Although the eventual fall of the Round Table, as written by Alan Jay Warner, is tragic, the addition of Tom the storykeeper, played by 13-year-old Joshua Brelsford of the local Winchester Thurston School, contributes a hopeful finish to the story, reminding Arthur to never forget about Camelot. Nevertheless, the final musical number — performed by King Arthur and accompanied by Frederick Loewe’s melancholy background music — is convincingly sorrowful.

If you’re a fan of King Arthur lore or simply enjoy a pleasant theater experience, full of comedy and noteworthy musical performances, head down to the Round Table at O’Reilly Theater before it disassembles.