"Veloudos demonstrates that he’s lost none of his knack for staging musicals in a manner both taut and expressive.Veloudos makes a strong return with a crisp ‘Camelot’ —The Boston Globe
What this approach to “Camelot’’ offers is close-up, human-scale intimacy and a showcase for a trio of performers who have the chops to make that intimacy mean something: Ed Hoopman as Arthur; Maritza Bostic as Guenevere; and Jared Troilo as Lancelot."
David Lee’s adaptation eliminates some of the pomp and pageantry to get to the heart of the story: a love triangle involving King Arthur (Ed Hoopman), Queen Guenevere (Maritza Bostic), and Sir Lancelot du Lac (Jared Troilo).Lyric's 'Camelot' Gets a Haircut, But It Still Works —On Boston Stages
As adapter Lee pointed out in program notes, the cuts to the book allowed all of the musical numbers to be fully staged.
On a beautiful multi-level set that gives the feel of a haunted forest with serpent like trees that appear to be watching the events that unfold, we are treated to a story, the story, that young Tom has passed down through the years. We, the audience, feel as if we are seated by a campfire while the tale is related to us by Arthur, Guenevere, Lancelot, Mordred, and the Knights and Ladies of the Court of King Arthur.A Bright Shining Moment —Boxing Over Broadway
This has been called a “stripped down production”, but I would call it an enhanced work. It is no secret the original Camelot was too long. Shortening it was a challenge from the beginning, and this adaptation by David Lee finally meets that challenge. All of the songs are here, the story is complete, and it moves along seamlessly. Director Spiro Veloudos adds his magic touch to bring it all together for an evening of theatre that will not be forgotten.
Legend has it that the first staging of the Lerner and Loewe musical “Camelot” (in Toronto, in 1960) ran four and a half hours. Don’t worry, though, the Lyric Stage Company version of the popular play has been pared down in a new adaptation by David Lee, whose revisions to Lerner’s book create a tight narrative without extraneous side trips. (Lee does retain Loewe’s songs.)Lyric Stage's Energetic Trip to 'Camelot' —WBUR The ARTery
One audience member said after the performance that this lean version allows more focus on the characters and the music, including some lovely duets, and that it tells the story well. The creators themselves, Lerner and Loewe, are given a shout-out in the new script at the end, helping to pass down the legend of King Arthur’s nobility to future generations. This is truly a “Camelot” that speaks to our times.Lyric brandishes a fresh, sharp 'Camelot' —The Milford Daily News
The musical springs to life when tall, dark and handsome Jared Troilo enters as Lancelot. His majestic baritone voice wins many laughs as he delivers the comic “C’est Moi”, and many tears with the poignant “If Ever I Would Leave You” in the second act, and again when he and Maritza sing “Before I Gaze at You Again” at the end of Act 1. His high energy portrayal captivates the audience from start to finish and it is as if the role was written for him. “The Joust” scene in this show is comparable to “Ascot Gavotte” from “My Fair Lady.” The Knights are well played by Davron S. Monroe, Brad Foster Reinking and Jeff Marcus as Lionel, Dinadan and Sagamore. They display their voices in numerous chorus numbers and in “Fie on Goodness” with Mordred. They do a marvelous job in these fleshed out roles. The villain of the show is excellently played by Rory Boyd. His smarmy behavior is wonderful to behold and his song “Seven Deadly Virtues” is dripping with sarcasm as the audience laughs at his machinations. So for a new version of this classic musical with a new spin on it, be sure to catch this two hour and 15 minute version of “Camelot” at Lyric Stage.Lyric Stage Delivers Fresh Take on "Camelot" —The Theater Mirror: New England Theater Guide
The technical team was outstanding, from the Music Direction by Catherine Stornetta, to the spirited Choreography by Rachel Bertone, atmospheric Scenic Design by Shelley Barish (with a set that would be at home in Into the Woods), appealing Costume Design by Elisabetta Polito, and well coordinated Lighting Design by Karen Perlow and Sound Design by Elizabeth Cahill.Royalty Revitalized —South Shore Critic
What this production becomes in these capable hands is a Camelot that deserves to be seen by any serious musical theater buff.
Maritza Bostic’s portrayal of romantically conflicted Guenevere is touching, her soprano voice lovely and whimsical in duets with Arthur, “What Do the Simple Folk Do?” and theme song “Camelot”.'CAMELOT' an ideal spot for happily ever aftering —The Revere Journal
Portraying Lancelot of France, Jared Troilo is commanding and comedic when he boastfully sings “C’est Moi,” indicating he is the bravest and most pure to be considered for knighthood at King Arthur’s Court. However, he’s wistful, longing and loving, tugging at female theatergoers’ heartstrings, when he declares his love for Guenevere in song, “If Ever I Should Leave You”.
Ed Hoopman delivers a humble, kindly portrayal of good King Arthur, who wanted to bring civility, peace and goodness to his kingdom, and enlist the surrounding kingdoms to join his peaceful crusade.
Contrasting Arthur’s benevolence, Rory Boyd portrays Arthur’s evil, bastard son Mordred, who comes to Camelot to wreak havoc, seeking revenge, power and Arthur and Camelot’s downfall. Boyd is detestably rotten while inciting a riot amongst the once-noble knights.
In addition to the leads, the supporting cast is strong, with Rory Boyd’s Mordred a slimy standout, and solid performances by the knights (Lyric regular Davron S. Monroe, Jeff Marcus, Brad Foster Reinking, and Garrett Inman as young Tom). The maids (the talented trio of Margarita Damaris Martinez, Jordan Clark and Kira Troilo) don’t have much to do, script-wise, but really bolster the numbers performed by the company – one the show’s highlights – especially on “Guenevere”. It’s pretty hard to go wrong with a book and score as strong as “Camelot”, and Veloudos and his terrific cast deliver with this abridged gem.Abridged Version of "Camelot" Still a Delight —The Theater Mirror: New England Theater Mirror
"It's like you've been dropped into a tight campfire story."Jared Bowen's Arts Picks This Week! —WGBH Arts Editor Jared Bowen
A 'Camelot' that is less and more —The Boston Globe
Spiro Veloudos knows how to cut through clutter. Veloudos, whose skillful direction of outsize musicals can make them feel like vital and intimate chamber pieces, is now taking on “Camelot,” Alan Jay Lerner and Frederick Loewe’s musical adaptation of the legend of King Arthur.
The tighter focus of the story, Veloudos says, also allowed him to think more carefully about casting and character development. “I wanted the differences between the way Arthur and Lancelot look at things to be clear,” he says, “and I also wanted a feisty Guenevere.”
During Veloudos’ long tenure in Boston theater, he has shown an interest in new plays that provoke, as well as the Sondheim musicals that broke the mold. But it’s part of the charm of Veloudos, with his big personality and a sometimes-gruff exterior, that he also has a soft spot for the old American musicals.Welcome Back to Camelot —Milford Daily News
The theater, no doubt, has been a kind of Camelot for Veloudos, never more so than now, as he continues his recovery. And the decades-long investment he’s made in helping to build a theater community in Boston continues to pay dividends. The Boston theater family has rallied around Veloudos in his moment of need.
Bostic is the first known African American cast as Guenevere, a role usually associated with the likes of Julie Andrews, who owned the part in the 1960 Broadway production. For Bostic, stepping into these medieval shoes is both daunting and exciting.Boston's Lyric Stage breaks new ground with 'Camelot' casting —Metro Boston
“It is intimidating, but also freeing,” says the 24-year-old actress. “I can take this iconic role and explore who my Guenevere is.”
The Lyric Stage Company of Boston will close out its season with a new adaptation of Camelot that has only been seen at a small handful of theaters around the country. Director Spiro Veloudos has been after the rights to this new two-hour Camelot for the better part of the last decade after seeing the show at the Pasadena Playhouse in 2010.Tell It Strong and Clear —DigBoston
It is important to Veloudos that people know this won’t be our grandmother’s Camelot. “A lot of people, when they hear Camelot, they go, ‘Oh, no,’” he said. “If you love the music but have had problems with the story being told, this is the version that you’re going to be excited by. To not have that pomp-and-circumstance kind of Camelot is going to be wonderful and I’m very happy to be working on it.”
"I really loved the idea of taking one of the largest musicals ever (in terms cast, length, set, orchestra etc.) and fitting it onto The Lyric Stage. We did the same thing with 'My Fair Lady' and found it really gave us the chance to focus on smaller, intimate moments that often get lost in large productions. Plus the score is really incredible and to be able to sing 'If Ever I Would Leave You' for an audience every night is a real privilege."'Camelot,' Rejiggered: A Chat with Jared Troilo —Edge Boston
"'Camelot' is incredibly relevant to today's political climate. Arthur even says 'Not might IS right. Might FOR right.' I think Arthur reminds us that while strength is needed sometimes we also need to practice compassion. And let's be honest, compassion is something our country could use some more of."