Los Angeles Times
- Somewhat Recommended
"...Lee's pared down treatment strips the musical of the pomp that famously marked Moss Hart's original staging. His revival seeks the essence of "Camelot." With Tom Buderwitz's minimal sets, Maggie Morgan's mix-and-match costumes and Mark Esposito's undemanding choreography, the production fits our recessionary quagmire-Lerner and Loewe are put on a tight budget. But the musical needs more than savings in time and cost. It needs a rewrite. As soon as Arthur's illegitimate and malignant son, Mordred (Will Bradley), shows up, the musical devolves into mechanical contrivance."
Variety
- Somewhat Recommended
"...Like Arthur's vision of world peace, this particular production doesn't always live up to its ideal. Warne and Carpenter knock Frederick Loewe's timeless ballads "I Loved You Once in Silence" and "If Ever I Would Leave You" out of the park, but Warne is given to crossing her arms and pouting, a hard coarseness obscuring her intended sensuality, while Carpenter never comes close to conveying the anguish of a hero whose aspiration to perfection is rent by lust."
LA Weekly
- Recommended
"...Director David Lee's eight-actor version of Lerner & Loewe's musical chestnut uses its economical imperative to strive for an ensemble concept that makes fun of its own minimal devices. The result is somewhat tentative, a production groping for its purpose, but it's also pleasant."
Backstage
- Highly Recommended
"... Cast members add set decorations and briefly describe scene transitions. The youthful lead players bring vivacity and charm to plum roles originally created by Richard Burton, Julie Andrews, and Robert Goulet. Shannon Stoeke expertly balances humor and heartbreak as the commanding yet secretly insecure monarch, Arthur. Stoeke comes across as a doomed protagonist in a classic mode seasoned with contemporary sensibility. As mischievous Queen Guenevere, Shannon Warne shines, boasting a lilting soprano voice."
Edge
- Highly Recommended
"...Carpenter was perfectly cast physically and vocally as idealistic Lancelot who despite his spiritual dedication falls prey to human emotions. Stoke's portrayal of Arthur is interesting and reminiscent of the youth who was tutored by Merlin and subsequent reluctant though sincere King. Marne also reveals a youthful girl's unfulfilled longings and conflicted heart with great feeling."
Stage and Cinema
- Not Recommended
"...Only Christy Crowl, whose musical arrangements and orchestrations are crisp and elegant, and which lovingly demonstrate the durability of the sometimes enchanting score, comes through this revival unscathed. There is a charming segue from "The Lusty Month of May" to "Then You May Take Me To The Fair," which suggests a kind of liveliness that was possible if everything else had come together. But, alas, that was not meant to be. I have seen high school productions of Broadway musicals that were vastly superior to what shall now be known as "The Pasadena Camelot." Anyone who would like specific examples, I am willing to supply them upon request. In the meantime, Mr. Lee, what's next' Flahooley'"
Stage Scene LA
- Highly Recommended
"...Director David Lee has solved all these problems in an all-around mesmerizing downsizing of Camelot at the Pasadena Playhouse. A young and virile Arthur, a gifted cast grand-totaling 8, and nary a dull moment make this quite possibly the most powerful and enthralling Camelot ever."
StageHappenings.com
- Somewhat Recommended
"...Shannon Stoeke as Arthur had neither voice nor presence needed to make this stalwart and caring character come alive; he sang passably, was charming, and came close to what was needed, but essentially was flat throughout. Shannon Warne as Guenevere turned in the strongest acting of the trio with a beautiful speaking and singing voice and she expressed the character's shifting moods well. Doug Carpenter, as Lancelot, sang beautifully and is blessed with solid leading-man looks and physic (shown off well by director Lee), but was wooden throughout."
ReviewPlays.com
- Recommended
"...There is a great deal of comedy in this show, with some sight gags that really work and a few well chosen jives from the cast. The actors are wonderful, with the lovely Shannon Warne singing up a storm. Her Guenevere (called Jenny in the show) is a combination of picaresque flirtation and wanton passion. One thing we didn't understand was her name. Every source we found has the name listed as Guinevere, but the program has it as Guenevere. Perhaps it's a different woman' Whoever she is, Shannon Warne fills the role with delightful charm and charisma."
CurtainUp
- Recommended
"...With the story so tightly focused, Bradley's Mordred has little to do beyond smirking like a malevolent pixie at Arthur and ultimately leading the I am evil anthem, "The Seven Deadly Virtues,"" (which is often cut). Musical Director Christy Crowl's orchestra gets an occasional boost from the players who lend a violin or a drum. Whatever else one may say about the piece's potential datedness (and, indeed, a Camelot in the age of Obama feels appropriate) the music still resonates. "The Simple Joys of Maidenhood" and "are a pair of sprightly numbers that give Jenny some character definition. Budding Goulets can always test their mettle on "If Ever I Would Leave You" and it's still all but impossible to leave the theater without the title anthem, "Camelot," rattling through your brain."
BlogCritics.org
- Somewhat Recommended
"...There was only one instrument played on stage, plus a drum thrown in for good measure. As for the nude scene, it was a total embarrassment; it seemed gratuitous and it distracted from Arthur's important final speech in Act One (which the actor lacked the gravitas to pull off). The King Arthur of Shannon Stoeke was well acted but didn't change the entire evening. Likewise the Lancelot of the big-voiced Doug Carpenter, and the strong voice of Shannon Warne as Guenevere didn't offset the fact that this production was passionless and thus not as affecting as the show is meant to be. I also missed the use of a real child in the final scene."
