Character Descriptions

Camelot

Sunday, January 5, 2020 at 7:30pm
or
Monday, January 6, 2020 at 7:30pm

Callbacks: Tuesday, January 7, 2020 at 7:30pm

Directed by Jan Isaacson
Choreographed by Jan Isaacson

Opens Friday, March 6, 2020


All Roles Open

Role Description
King Arthur (Baritone)- Must have very strong dramatic skills – Required to memorize long monologues. Although not a strong singing part, must be a good musician. Must be able to portray youth as well as maturity.
Guenevere (Soprano) – Must have both strong acting and legit singing skills. Some dance required.
Lancelot du Lac (High Baritone) – Must have both strong acting and singing skills. Must sing in French, legit voice. Should create a strong, confident presence on stage.
Merlyn (Non-singing) – Character actor role, must be able to portray old age. May double as King Pellinore or ensemble.
King Pellinore (Non-singing) Strong comedy character role, a rather befuddled type of character. May double as Merlyn or ensemble.
Nimue (Dancer) – [Character will be handled by two actresses (one to dance onstage, the other to sing backstage)] a spirit that lures Merlyn away from the mortal world. Has one dance number (interpretive/ballet). Will also be in ensemble.
Mordred (Baritone) – Illegitimate son of King Arthur. Strong dramatic acting skills required (antagonist character). Sings one solo number.
Morgan Le Fey (Character singer) – Mordred’s gluttonous aunt. Strong acting skills, dance preferable.
Tom of Warwick (Non-singing) A young, teenage boy. Appears at the end of the show, but may be worked into the ensemble as a page, squire, etc.
Ensemble Consists of Knights and Ladies of the court, many of whom have speaking roles. Very strong singers are needed for this ensemble.

Plot Synopsis

LERNER & LOEWE'S Camelot brings the legend of King Arthur and his Knights of the Round Table to life with an extraordinary score and a story that poignantly dramatizes the human conflict at the heart of this classic tale. Based on T.H. White’s novel, The Once and Future King, Camelot tells the story of Arthur, a young squire who becomes King after extracting the sword Excalibur from its legendary rock. Camelot opens in the midst of the battle that destroyed King Arthur’s kingdom, and goes back to tell the story of how the battle came to be. The musical follows Arthur from a young, ambitious, idealistic King who dreams of creating a just society to the despairing king bearing witness to his dream’s demise. Arthur’s dream is inspired by his vivacious Queen Guenevere. Together, they create a kingdom where might works at the service of right and the King serves at a round table with no head — a symbol of collaboration and unity. But just as this utopian vision starts to become reality, everything begins to unravel. When Guenevere falls in love with Arthur’s most celebrated, beloved, and loyal knight, Lancelot, they begin a romance as doomed as it is passionate. Their troubles are compounded when Arthur’s illegitimate son, Mordred, arrives on the scene. In a world of human realities, can Camelot achieve the utopia of which Arthur dreams?