Camelot

September 10 – October 13, 2024 | Francis J. Gaudette Theatre • October 19 – November 10, 2024 | Everett Performing Arts Center


In This Program


About the Show

A World Premiere / How to Break / A New Musical

ADAM IMMERWAHR, Artistic Director

DEREK WATANABE, Managing Director

Book and Lyrics by

Alan Jay Lerner

Music by

Frederick Loewe

Original Production Directed and Staged by Moss Hart
Based on “The Once and Future King” by T.H. White
Book Adapted by David Lee
New Orchestrations by Steve Orich

Francis J. Gaudette Theatre
September 10 – October 13, 2024

Everett Performing Arts Center
October 19 – November 10, 2024

Set Designer
PARMIDA ZIAEI

Costume Designer
PETE RUSH

Lighting Designer
ALBERTO SEGARRA

Sound Designer
ROBERTSON WITMER

Fight & Intimacy Director
GEOFFREY ALM

Stage Manager
RUTH EITEMILLER*

Music Director
MICHAEL NUTTING

Choreographer
KATHRYN VAN METER

Director
ADAM IMMERWAHR

LERNER AND LOEWE’S CAMELOT is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com

Any video and/or audio recording of this production is strictly prohibited.


Show Sponsors

Rowley Properties

Season Sponsors

Artsfund
Boeing
Microsoft
Hook & Cleaver | Lombardi's Italian Restaurant and Bar

Producing Sponsors

4Culture
Everett, WA
City of Issaquah Arts Commission
Seattle NorthCountry, made possible in part by assistance from the Snohomish County Hotel-Motel Tax Fund.

Credits

Cast

Arthur, Reveler #6
Harter Clingman*

Tom, Reveler #5, Dance Captain
Rhys Daly

Lionel, Reveler #4, u/s Lancelot
Jadd Davis

Squire Dap, Mordred, Reveler #1
Nik Hagen*

Lancelot, Reveler #8
Adam James King*

Dinadan, Reveler #2
Brandon O’Neill*

Sagramore, Reveler #3, u/s Arthur
Matthew Posner*

Guenevere, Reveler #7
Jessica Skerritt

Understudies

Mordred, Tom
Lucas Delamarter 

Sagramore
Julian Schrenzel 

Dinadan, Lionel
Christopher Sweet 

Guenevere
Karin Terry

Stage Management

Stage Manager
Ruth Eitemiller*

Assistant Stage Manager
Annika Evens

Production Assistant
Isabella Marziello

*The Actors and Stage Managers are members of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. 

Orchestra

Piano/Conductor
Michael Nutting 

Violin
Valerie Tung or Kimberly Jill Rosenberg

Cello
Grant Olson

Bass
Olivia D Hamilton 

Horn
David McBride 

Reed 1 (Flute, Oboe, Clarinet, Bass Clarinet)
Koryn Orcutt or Lori Shepherd

Reed 2 (Bass Clarinet, Clarinet, Flute, Baritone Sax)
Jay Easton 

Percussion
Jesse Whitford or Scot Sexton

For This Production

Associate Director
Charlie Johnson

Associate Choreographer
Mackenzie Malhotra 

Associate Music Director
Aimee Hong

Assistant Scenic Designer
Alexander Winterle 

Associate Lighting Designer
Casey Price

Vocal Coach
Aaron M. Davis Norman

Dialect Coach
Yusef D Seevers 

New York Casting
Geoff Josselson, CSA

Crew

Head Stage Carpenter (Issaquah)
Whitman Paylor 

Head Stage Carpenter (Everett)
Chris Mikolaizik

Lead Deck, Props (Issaquah)
Paige Donald 

Lead Production Technician (Everett)
Kyle Morgan

Head Electrician (Issaquah)
Paul Arnold 

Head Electrician (Everett)
Brandon Cullinan

Follow Spot Operator (Full Run)
Casey Leugemors 

Follow Spot Operator (Issaquah)
Olof Sander

Follow Spot Operator (Everett)
Richard Cole

Programmer (Issaquah)
Zac Andersen

Programmer (Everett)
Meghan McNeal 

Head Sound Engineer (Issaquah)
Steven Younkins 

Head Sound Engineer (Everett)
Erik Siegling

Lead Audio / A2 (Issaquah)
Jakob Dyson 

Wardrobe Head (Issaquah)
Kate Simpson

Lead Wardrobe
Malena Langlie

Stitchers
Kali Pohle, Alexandra McCoy

Special Thanks

Rod “Red” Gibson, Christie Lites Seattle
Clint Thayer
Totem Lake Shoe Repair

Musical Numbers

Act I

“Act I Opening”
“March”
Orchestra

“I Wonder What the King Is Doing Tonight”
Arthur

“The Simple Joys of Maidenhood”
Guenevere

“Camelot”
Arthur

“Camelot (Reprise)”
Guenevere

“C’est Moi”
Arthur, Guenevere, Lancelot

“The Lusty Month of May”
Guenevere, Revelers, Knights

“How To Handle a Woman”
Arthur

“The Jousts”
Full Company

“Before I Gaze at You Again”
Guenevere, Lancelot

“Finale Act I”
Orchestra

Act II

“Opening Act II”
Orchestra

“If Ever I Would Leave You”
Lancelot, Knights

“The Seven Deadly Virtues”
Mordred

“Fie On Goodness”
Mordred, Knights

“What Do the Simple Folk Do?”
Arthur, Guenevere

“I Loved You Once in Silence”
Guenevere, Lancelot

“Guenevere”
Full Company

“Finale Ultimo”
Full Company

A Note from Adam Immerwahr, Artistic Director

Dear Patrons,

Lerner and Loewe’s Camelot was probably the first musical I ever saw—at the age of five at the Cape Playhouse in Massachusetts—and I still remember it vividly. That first theater-going experience was transformative for me, and the soundtrack has been a constant in my life. 

There is no better time to produce Camelot than during a presidential election season—especially the current one.  Camelot tells the story of a legendary King who imagines a more just, civilized and lawful kingdom—only to have to decide between following his own laws or throwing them aside to save someone he loves dearly. Must he be a King, or can he be a man? In my lifetime, it seems the personal and the political have never collided as much as they have in recent years: a sitting president having to decide whether to pardon his own son after a federal conviction, and accusations on all sides of presidential powers being used to unfairly benefit our commanders-in-chief. Camelot, originally produced in 1960, is an eerily prescient exploration of these very questions, delving into the soul (as only art can) to help us better understand the unbearably consequential human choices that a leader must sometimes make.

Of course, the script we’re using today isn’t quite the Camelot that audiences would have seen in 1960. Clocking in at nearly three hours, the original Camelot is a musical of a different era, with a sprawling storyline and a languid pace. I was delighted to discover that David Lee had been authorized to trim and adapt the musical in 2019 (his adaptation is distinct from the Aaron Sorkin adaptation produced at Lincoln Center in 2023). Lee’s script cuts to the heart of the story, allowing us to focus on the parts we all love—the beautiful and heartbreaking love triangle of King Arthur, Guenevere and Lancelot, and all the extraordinary music (including some that is often cut from productions). Like a jeweler cutting into a gemstone to reveal its beauty, Lee’s version of the story lets all of the best facets shine, allowing us to see the essence of this beloved musical.

I know we’ll be on an incredible journey this season at Village Theatre, and I can’t wait to share our upcoming shows with you. If you haven’t yet subscribed, there’s still time to reserve your season tickets. If you bought a ticket just to Camelot, you can even turn it in toward the cost of a subscription!

I’ll see you in the lobby,

Adam Immerwahr
Artistic Director

P.S. I always welcome your thoughts—you can email me directly at adam@villagetheatre.org.

A Note From Derek Watanabe, Managing Director

Dear Patrons,

Welcome first-time ticket buyers, lifetime subscribers, and everyone in between to Camelot and Village Theatre’s 2024-2025 season. I am excited for my first season opening as Managing Director and my 27th season as a subscriber.  

My path to this role has been anything but direct. I didn’t see my first live musical until I was 25 years old. My true love of musical theater would be fostered years later when my wife and I made Issaquah our home and became part of the Village Theatre family. Thanks to Village (and after 140+ performances), I can’t imagine my life without musical theater.

After my first couple seasons attending shows at Village, I started saying things like, “I don’t understand why everybody in Issaquah, Everett and the greater Seattle area doesn’t already have tickets to this place – the quality is comparable or better than anywhere around.”

Then, after being blown away by some of my favorite Village productions like The Who’s Tommy, Making Tracks, Chicago and Million Dollar Quartet—“This could practically be Broadway.” What a gem we have right here in our own backyard! I have been delighted to be part of the Village community as a subscriber, donor, KIDSTAGE parent, Board President and now Managing Director. 

Not only do we produce Broadway-caliber theater on our Mainstage, Village is also home to one of the nation’s premier youth theater education programs. All three of my children were involved in KIDSTAGE—my favorite moments include 11-year-old Emma singing “Castle on a Cloud” in Les Misérables, 7-year-old Luke jumping from classroom to understudy in South Pacific, and 8-year-old Clare stealing the show as Abu in Aladdin JR. Now grown, my kids have taken with them lifelong friendships and an ability to engage and connect with people that was fostered right here, on our stages. 

And as of this writing, we’ve just concluded our 21st annual Festival of New Musicals—an incredible and rare opportunity for theater-lovers like you and me to witness four new musicals coming to life. I hope you’ll save the date and join me for our next Festival, August 8-10, 2025.

We’re so glad you’re here for the first show of our new season. Whether it’s your first Village performance or your 100th, please know YOU are an important part of our Village Theatre community, and we truly appreciate your support. 

Please spread the word, become a season subscriber if you are not already, and encourage your friends and family to subscribe, too. It’s going to be a fantastic season!

Derek Watanabe
Managing Director

P.S. Please feel free to send me your thoughts at derek@villagetheatre.org.

Who’s Who

Cast

HARTER CLINGMAN, he/him (Arthur, Reveler #6). Village debut, though he’s taught workshops within Village Theatre Institute. Last seen in Something’s Afoot (The 5th Avenue Theatre). He completed a full run as Oz on the first Broadway North American Tour of Come From Away. Additional Touring: Peter and the Starcatcher (first Broadway National). Regional: The Muny, The Barnstormers Theatre (New Hampshire), Chicago Shakespeare Theater, Steppenwolf Theatre, The Gift, Paramount Theatre (Illinois), Drury Lane, Mercury Chicago, Marriott, and multiple seasons at Peninsula Players (Wisconsin). Love to Ashley, Charley, friends and family! @harter.clingman

RHYS DALY, he/they (Tom, Reveler #5, Dance Captain) is thrilled to be returning to Village Theatre. He was last seen on the Village stage as Barnaby in Hello, Dolly! Other recent credits include Anyone Can Whistle (Reboot Theatre Company), Comedy of Errors (Seattle Shakespeare Company), and Wonder Boy (The 5th Avenue Theatre). When not on stage, he can be found looking for a new coffee shop in which to memorize lines or furiously edit his next poetry collection.
@jellicletrash

JADD DAVIS, he/him (Lionel, Reveler #4, u/s Lancelot) returns to Village after 10 years away, having previously performed in Les Misérables, The Who’s Tommy, Show Boat, Evita and numerous Village Originals. Jadd also worked behind the scenes in casting and company management for the 2011-2013 seasons. During the intervening decade, Jadd earned master’s degrees in theatre and clinical mental health counseling. He now serves as an Associate Counselor at Catalyst Counseling in Woodinville. Much love to his family!

NIK HAGEN, he/him (Squire Dap, Mordred, Reveler #1) is thrilled to return to Village Theatre where he began his professional theater career as Neleus in Mary Poppins. He graduated from Whitman College where he received a BA in acting and has since been seen as Tobias in Sweeney Todd: The Demon Barber of Fleet Street, A-Rab in West Side Story, Franz in Rock of Ages (The 5th Avenue Theatre), and others. Next up: Mary Poppins (The 5th Avenue Theatre). @nikhagen nikhagen.com

ADAM JAMES KING, (Lancelot, Reveler #8) is excited to make his Village Theatre debut. TV credits: “FBI Most Wanted” (CBS), “I.T.Y.S.L” (Netflix), “Law and Order” (NBC), “Legacies” (CW), “Young Rock” (NBC). Theatre credits: Frid in A Little Night Music (Pasadena Playhouse), Emilio in On Your Feet (The Phoenix Theatre Company), and Usnavi in In the Heights (Park Playhouse). Adam has a BFA in musical theatre from Ithaca College and is a graduate of the LA Stunt Training Center and the British Academy of Stage and Screen Combat. Much thanks to The Price Group and love to my family for their unwavering support. IG: @OfficialAdamJamesKing

Brandon O’Neill, he/him (Dinadan, Reveler #2). Previous Village Theatre appearances: Ken Ludwig’s Sherwood: The Adventures of Robin Hood, Rodgers and Hammerstein’s Cinderella, The Who’s Tommy, and Man of La Mancha. Broadway: Disney’s Aladdin (Original Broadway Cast), A Bronx Tale (first replacement), Disney’s Aladdin: Live from the West End (upcoming film release). Select regional: The Hunchback of Notre Dame, The Pirates of Penzance, Dracula, Oslo, Pride & Prejudice, A View from the Bridge, Assassins, Cat on a Hot Tin Roof, Beatrice and Benedict, Sondheim at the Pops, and Voice of “Crow” in Bungie’s Destiny. brandon-oneill.com

Matthew Posner, (Sagramore, Reveler #3, u/s Arthur). This is Matthew’s third production of Camelot. He came to Seattle after coming off playing Lancelot on the National Tour. Other notable roles with Village Theatre are: Rapunzel’s Prince in Into the Woods, Escapologist in Matilda the Musical, and Lazar Wolf in Fiddler on the Roof. Matthew is the Singing Tour Guide with “Show Me Seattle.” See his puppet work: @handtomouthcreative. Love to family and amazingly supportive wife, Alyssa.

Jessica Skerritt, she/her (Guenevere, Reveler #7). Village Theatre: Irene Malloy in Hello, Dolly!, Atropos in String, Lina Lamont in Singin’ in the Rain, Ulla in The Producers, Kira/Clio in Xanadu, Gwendolyn in Chasing Nicolette, Corie Bratter in Barefoot in the Park, Dyanne in Million Dollar Quartet, and many more. The 5th Avenue Theatre: Grace in Annie, Elsa Schraeder in The Sound of Music, Hedy LaRue in How to Succeed in Business Without Really Trying, and Mother in A Christmas Story. ACT Theatre: Audrey in Little Shop of Horrors and Young Little Edie in Grey Gardens. Endless gratitude to Village Theatre. Love always to Dane.

Understudies

LUCAS DELAMARTER, he/him (u/s Mordred, u/s Tom) is so excited to be making his Village debut in Camelot! He has loved this theatre for so long and is thrilled to be joining the Village family. Recent credits include u/s Moritz/Otto in Spring Awakening (The 5th Avenue Theatre), Frankie Valli in Jersey Boys (Tacoma Musical Playhouse), and u/s Pippin and Ensemble in Pippin (Renton Civic Theatre). Lucas sends his unending thanks to Victoria Knight.

JULIAN SCHRENZEL, (u/s Sagramore). Last seen at Village Theatre as Russian Tenor/Sasha/Priest in Fiddler on the Roof (2013), Julian is honored to be returning again for his fourth show with Village. Other favorite roles include Sky Masterson in Guys and Dolls, Franklin Hart in 9 to 5 the Musical, and Billy Flynn in Chicago. He thanks this wonderful cast and company, and his supportive family and friends.

CHRISTOPHER SWEET, he/they (u/s Dinadan, u/s Lionel) is beyond excited to be a part of this new way to tell an old tale and to be on Village Theatre’s stage again. You may have last seen him dancing with Dolly in Hello, Dolly! or at the Prince’s ball in Rodgers and Hammerstein’s Cinderella or even in the sewers in Guys and Dolls. “You don’t need a reason to help people.” Support Live Theatre!

KARIN TERRY, she/they (u/s Guenevere) is overjoyed to be making their Village Theatre debut. Karin was most recently seen as Sally Bowles in Cabaret (Harlequin Productions). Other recent credits include: Betty Schaefer in Sunset Boulevard (Showtunes Theatre Company), Romeo and Juliet, Twelfth Night (Seattle Shakespeare Company), and Black Stache in Peter and the Starcatcher (Reboot Theatre Company). They also sing around the PNW with vintage trio The Memphis Belles (Naomi Morgan Entertainment). Love to Nick!! IG @reddkar

Creative Team

ADAM IMMERWAHR, (Director) is the Artistic Director at Village Theatre, where he is responsible for season selection and also oversees the artistic, education, and production departments. He recently directed Village’s productions of Ken Ludwig’s Sherwood: The Adventures of Robin Hood and The Fantasticks. He previously served as Artistic Director of Theater J, the Associate Artistic Director at McCarter Theatre, and the Resident Director of Passage Theatre. Adam’s producing credits include new works by Edward Albee, Christopher Durang, Danai Gurira, Fiasco Theater, Will Power, Stephen Wadsworth, Tarell Alvin McCraney, and Ken Ludwig, several of which have transferred to Broadway or off-Broadway. As a director, Adam’s work has been seen from Aspen to Zimbabwe, including at some of the top theaters in the country: The Public and Theater Row (both for Summer Play Festival), Ensemble Studio Theatre, Walnut Street Theatre, Woolly Mammoth, McCarter Theater, Cleveland Play House, Lyric Theater of Oklahoma, Theater J, Passage Theater, Hangar Theater, Bristol Riverside, and many others. He serves on the Board of the Issaquah Chamber of Commerce and is an inaugural member of the Drama League Director’s Council.

MICHAEL NUTTING, he/him (Music Director) is very excited to be back music directing at Village Theatre! Michael loves to stay busy on as many projects as possible. Favorite past shows include: The Noteworthy Life of Howard Barnes and String (Village Theatre); Disney’s The Little Mermaid and Into the Woods (The 5th Avenue Theatre); Urinetown and Little Shop of Horrors (ACT Theatre); and The Hello Girls (Taproot Theatre). When he is not music directing, he is an avid composer, arranger, and educator. Special thanks to all those whose hard work is fueling this production. Love to Jerra.

KATHRYN VAN METER, she/her (Choreographer). Previously at Village Theatre: Beautiful: The Carole King Musical, Ken Ludwig’s Sherwood: The Adventures of Robin Hood, The Book Club Play, and Eastbound (Intimacy Director); Matilda, Into the Woods, and Cloaked (Director/Choreographer); Hello, Dolly!, My Fair Lady, Cabaret, and The Who’s Tommy (Choreographer). Kathryn’s work has been seen around Seattle at The 5th Avenue Theatre, Seattle Rep, ACT Theatre, Seattle Shakespeare Company, and Seattle Children’s Theatre where she served as Interim Artistic Director for the first 100 days of the COVID-19 shutdown.

PARMIDA ZIAEI, (Scenic Designer) is an Iranian multidisciplinary artist and designer based in Seattle and the co-founder of Seda Iranian Theatre Ensemble. Parmida has been a scenic and production designer with many Seattle theaters including Village Theatre, ACT Theatre, Seattle Shakespeare Company, ArtsWest, and Seattle Public Theater, among others. When not designing, Parmida performs, choreographs, and teaches as a movement artist. Parmida was a recipient of the 2022 Northwest Creator Residency at Village Theatre. parmidaziaei.com

PETE RUSH, (Costume Designer) designs scenery and costumes for the theatre. He previously designed How to Break for Village Theatre. His designs have appeared locally at ACT Theatre, The 5th Avenue Theatre, Seattle Shakespeare Company, Book-It Repertory Theatre, Intiman Theatre, Washington Ensemble Theatre, Taproot Theatre, ArtsWest, and Seattle University. Pete additionally works as a visual artist, specializing in installation and wearable art, while also producing free public arts programs at Seattle Center. Member of
USA 829.

ALBERTO SEGARRA, (Lighting Designer). Recent credits: Jane Eyre at Alley Theatre, The Honey Trap (Helen Hayes Award) at Solas Nua; Lend Me a Soprano and The Joy That Carries You (Helen Hayes nomination) at Olney Theatre Center; Passing Strange at Signature Theatre; Blood at the Root (Helen Hayes Award) at Theater Alliance; Look Both Ways (Helen Hayes nomination) at The Kennedy Center; The Great Leap at Hangar Theatre Company/Portland Stage; and The Three Musketeers at Cleveland Play House. albertosegarra.com

ROBERTSON WITMER, (Sound Designer) is a Seattle-based sound designer and musician. Previously at Village Theatre: Once on This IslandHello, Dolly!, Matilda. Other recent productions include: X: The Life and Times of Malcolm X (Seattle Opera); The Lehman Trilogy (ACT Theatre); Clyde’s (ArtsWest); The Moors (Seattle Public Theater); Murder on the Links (Laguna Playhouse) and Romeo & Juliet (Seattle Shakespeare Company). When he is not designing sound for theater, Rob plays with several bands, including the Love Markets and “Awesome.”

GEOFFREY ALM, (Fight and Intimacy Director) is very happy to be back at Village Theatre for Camelot. Last season, he was honored to be Associate Fight Director for Ken Ludwig’s Sherwood: The Adventures of Robin Hood. Other Village credits include: The Who’s Tommy, Jesus Christ Superstar, and Singin’ in the Rain. Recent work includes: A Thousand Splendid Suns (Seattle Opera), Fat Ham (Seattle Rep), and Sweat (ACT Theatre). Mr. Alm teaches stage fighting at the University of Washington, Cornish College, and Freehold Theatre.

RUTH EITEMILLER, she/her (Stage Manager) was last at Village for Ken Ludwig’s Sherwood: The Adventures of Robin Hood and is pleased to be back working with several of the same team members for Camelot. Her recent credits include: The Lehman Trilogy (ACT Theatre), Sanctuary City (Seattle Rep) and Sweeney Todd: The Demon Barber of Fleet Street (The 5th Avenue Theatre). Ruth was the recipient of the 2018 Melissa Hines Backstage Award, and currently leads the local group SM Collective. @SMCollectiveSeattle

ANNIKA EVENS, she/her (Assistant Stage Manager) is excited to be back at Village Theatre. Some favorite credits include: The Fantasticks, Sense and Sensibility, KIDSTAGE’s The Prom (Village Theatre); Wooden O’s The Two Gentlemen of Verona, Merry Wives of Windsor (Seattle Shakespeare Company); Disney’s The Little Mermaid (The 5th Avenue Theatre); and (Cirque du Soleil). Annika is a graduate from Carnegie Mellon University with a BFA in stage and production management.

GEOFF JOSSELSON, CSA (Casting Director) is thrilled to continue collaborating with Village Theatre. Select credits include Broadway: Spamalot, Sweeney Todd: The Demon Barber of Fleet Street, Into the Woods (Artios Award winner), The Velocity of Autumn. Off-Broadway: Cellino v. Barnes, Dracula: A Comedy of Terrors, Altar Boyz, Southern Comfort, Yank!. Select New York and Regional Theatre companies include Arena Stage, Actors Theatre of Louisville, Baltimore Center Stage, Irish Repertory Theatre, The Kennedy Center, Long Wharf Theatre, Old Globe, Oregon Shakespeare Festival, Studio Theatre, Paper Mill Playhouse, Pasadena Playhouse, Pittsburgh CLO, Pittsburgh Public Theatre, Repertory Theatre of St. Louis, Signature Theatre, Studio Theatre and York Theatre Company. @josscasting

ADAM IMMERWAHR, (Artistic Director) See bio above.

DEREK WATANABE, (Managing Director) has been a Village Theatre patron ever since he and his family moved to Issaquah over 25 years ago. He and his wife have been long-term subscribers, donors, Village Originals members, and Village Theatre’s KIDSTAGE and Institute parents. In 2005, Derek joined the Village Theatre Board, served as Board President, member of the Finance Committee, and Board Development Chair. While Board President, he helped lead Village through the construction of the Watjen Technical Studios, Hunt Family Theatre and Cope Gillette Theatre, as well as navigate a major recession and other financial challenges. Derek brings over 30 years of banking, finance, and leadership experience, having worked with a wide variety of public, private, and nonprofit organizations throughout his career. Derek is originally from Honolulu and is married with 3 grown children. He holds a bachelor’s degree in physics from Pomona College, a master’s in electrical engineering from USC, and an MBA from UCLA. In addition to musical theater, he enjoys competing in triathlons, SCUBA diving and fine-tuning his homemade kombucha.


The Director is a member of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union.

All stage work performed by members of IATSE Local 15.

All costume construction and hair/make-up work is performed by employees represented by IATSE TWU Local #887.

All scenic painting work is performed by employees represented by IATSE Local 488.

United Scenic Artists represents the designers and scenic painters for the American Theatre.

The actors and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.

The theatre operates under an agreement with Local 76-493, American Federation of Musicians, AFL-CIO, representing the musicians.

From Legend to Legacy:

The Ever-Evolving Tale of King Arthur

By Ellen Morgan Peltz

By the time the musical Camelot opened on Broadway in 1960, the story of King Arthur had captivated imaginations for over 1,500 years. Throughout the centuries, the legend has evolved as each retelling has been tweaked to fit the needs of its audience, giving the story a rich historical, literary, and societal legacy.

Illuminated manuscript showing King Arthur from Epitome of Chronicles. Matthew Paris. First half of 13th century

King Arthur as History

The earliest mentions of King Arthur appear in Celtic literature written in the 5th and 6th centuries. These stories were considered historical accounts, focusing on battles and political tensions, in which Arthur is often described as a brave war leader defending the British against the Saxons (Brown, 2016). It wasn’t until 1138, when Geoffrey of Monmouth wrote his comprehensive History of the Kings of Britain, that the Arthurian legend began to take shape. Writing in Latin, Monmouth combined earlier accounts of King Arthur and introduced new elements, creating the first full biography for Arthur (Lacy, 1988).

The Death of King Arthur. James Archer. 1860.

King Arthur as Romance

Monmouth’s text inspired the next iteration of the Arthurian legend, which focused on ideals such as adventure, love, and chivalry. The most influential example of Arthurian romance literature is Thomas Malory’s Le Morte d’Arthur, written in the 15th century (Lacy). Malory’s version, an amalgamation of several French sources, includes all the key characters and elements we recognize today: Arthur’s relationship with Merlin, his marriage to Guenevere, the introduction of Lancelot, the Round Table and its knights, the quests for the Holy Grail, Lancelot and Guenevere’s ill-fated relationship, and Mordred’s role in the collapse of Camelot.

Le Morte d’Arthur illustrations. Aubrey Vincent Beardsley, May 30, 1893

King Arthur as Social Commentary

English writer T. H. White wrote The Once and Future King, his retelling of the King Arthur story, immediately before and during World War II. White’s version is bleaker than Malory’s. Where Malory idealized kings and knights, White, writing during Hitler’s rise and World War II, emphasized human fallibility, the abuse of power, and the horrors of war (Grady, 2017). In White’s fantasy novels, Merlin ages backwards and uses his role as Arthur’s teacher to warn and equip him for the future. 

Julie Andrews and Guenevere and Richard Burton as Arthur in a scene from the original Broadway production of Camelot. Friedman-Abeles, NY. Circa 1960.

King Arthur as Spectacle

Lerner and Loewe used White’s The Once and Future King as the source material for their musical, Camelot. The original production of Camelot opened on Broadway on December 3, 1960, and ran for just over two years. It glittered with pageantry, featuring a large cast and elaborate, Tony Award-winning sets and costumes. Although the first act is light and comedic in many places, the second act explores Camelot’s tragic demise and ends by emphasizing the need to carry the tale into the future.

King Arthur as Story

In 2010, Lerner and Loewe’s Camelot was reimagined by Emmy Award-winning director David Lee, whose adaptation Village Theatre is performing, creating a condensed version with only eight actors. Lee explained in production notes, “Even though the story has large philosophical resonance, it really is a rather small tale about the relationship among three human beings — Arthur, Guenevere, and Lancelot. I eliminated everything that did not contribute directly to telling their story. What I was left with was the same beautifully written tale, but one that now seemed more direct, clearer, and more emotionally accessible (Jones, 2010).” Lee removed Lerner and Loewe’s magical characters but retained the magical quality they imparted to the story by emphasizing storytelling and imagination.

The story of King Arthur and Camelot continues to evolve, as evidenced by the 2023 Broadway revival with a script by The West Wing creator Aaron Sorkin. The University of Rochester’s Camelot Project has identified more than 200 titles of poems, plays, novels, scholarly analyses, and adaptations of Arthurian legends ranging from medieval texts to modern adaptations, none of which includes the many murals, illustrations, paintings, plays, and movies that reference the story. As the countless iterations of the story demonstrate, the Arthurian legend has always served as a mirror for society, reflecting what we want and need to see about ourselves. What does today’s version of the tale reveal to you?

REFERENCES
Brown, A. (2016, December 7). Guide to the classics: the Arthurian legend. The Conversation. https://theconversation.com/guide-to-the-classics-the-arthurian-legend-64289
Camelot Project. Robbins Library Digital Projects. https://d.lib.rochester.edu/camelot-project
Grady, C. (2017, May 18). Why the once and future king is still the best king Arthur Story out there. Vox. https://www.vox.com/culture/2017/5/18/15649214/once-and-future-king-th-white-king-arthur
Jones, K. (2010, January 15). Revised Camelot, population eight, opens in California. Playbill. https://playbill.com/article/revised-camelot-population-eight-opens-in-california-com-164964
Lacy, N. J., & Ashe, G. (1988). The Arthurian Handbook. Garland.
White, T. H. (1958). The Once and Future King. G.P. Putnam’s Sons.

ArtsFund is proud to support Village Theatre’s mission as they continue to produce dynamic programming that highlights innovative artists in the Pacific Northwest. ArtsFund’s support of local arts organizations is only possible through the contributions of donors in this community, and we are immensely grateful to the generous individuals and businesses who have supported ArtsFund as well as Village Theatre. We will continue to support arts organizations, like Village Theatre, that elevate the voices of Washington state through our leadership, advocacy, and grantmaking programs. We are excited to see what will be performed throughout this season!

The Boeing Company is committed to improving the quality of life within the communities where our employees live and work. Our Global Engagement programs implement Boeing’s philanthropy through local charitable investments, volunteerism, employee drives, personal giving, disaster response, and other integrated programs. Boeing is proud to be a supporter of Village Theatre’s productions and musical theatre education programs, and we are pleased to welcome you back to live theatre. Enjoy the show!

Microsoft is pleased to sponsor Village Theatre’s 2024–2025 Season, and to welcome you to this production of Camelot. Village Theatre is a favorite among our employees and their families, and we are delighted to support a vibrant community arts organization that brings high quality entertainment to the Eastside. We encourage employee engagement and volunteerism in the community throughout the year and through support of great organizations like Village Theatre, we aim to foster a strong community culture where the arts will thrive for generations to come. Enjoy the show!

Lombardi’s Italian Restaurants & Catering is honored to be a long-time Village Theatre sponsor! Lombardi’s delights diners at their three locations: at the scenic Everett Marina, in the North Creek community, and at the bustling Bellingham Marina. Date night or any night, experience Lombardi’s classic and contemporary Italian cuisine from all around Italy. Sip your favorite Washington and Italian wines, savor a handcrafted cocktail, or enjoy one of the many local brews with your meal. Village Theatre and Lombardi’s, the perfect pairing!

Behind the Scenes with Legally Blonde

When we asked Costume Designer Harmony Arnold to join the creative team for Legally Blonde The Musical, she couldn’t wait to don the pink-tinted lenses of our fashionable heroine, Elle Woods. We checked in with Harmony to learn what excites her about this fabulously fun and flashy story.

Village Theatre: What’s your inspiration for this show’s costume design? 

Harmony Arnold: Legally Blonde is a lively, energetic, and empowering story that follows Elle Woods, a fashion-savvy sorority girl who initially enrolls at Harvard Law School to win back her ex-boyfriend, only to discover her potential to assert her intelligence and independence while achieving her own stylish goals. The costume design reflects these contrasting worlds: Elle’s sun-tacky, fashion-forward life at UCLA, and the formal, traditional environment of Harvard Law School.  

VT: Why do you think pink is Elle’s signature color?

Arnold: Historically, pink has been a versatile and widely loved color. In the eighteenth century, it was a fashionable color worn by distinguished aristocracy in European courts. The association of pink with women and femininity is a relatively recent development, influenced by cultural, social, and economic factors. Today, pink continues to evolve, symbolizing everything from traditional femininity to modern empowerment and resistance.  

All I have to say is, get ready to embrace at least 20 shades of pink—and that’s just before intermission! 

VT: What are you most excited about?

Arnold: I love that this musical emphasizes themes of self-belief, hard work, and breaking stereotypes. The energy of the music, the fierce fashion, the humor, and the witty dialogue throughout the show create a joyful combination. I knew I could live in Elle Woods’ world for six months and be thrilled to do so. 

I also enjoy working with the costume team at Village Theatre. They’re a dynamic group of stellar professionals who excel at their work. I’ve known Costume Director Esther Garcia since 1999, and I’m thrilled to collaborate with her again. My last show at Village was String in 2018, and it feels meaningful to return post-pandemic and post-Barbie-movie to design a show like Legally Blonde

VT: What do you hope audiences will feel when seeing this show? 

Arnold: I hope people will feel inspired and empowered by watching Elle put in the hard work to transform from seemingly-superficial sorority girl to successful Harvard Law graduate. 

Also, these songs are ridiculously fun. I hope the audience leaves with a song in their hearts. 


Legally Blonde runs November 12-December 22 in Issaquah and January 4-26 in Everett.

Single tickets are on sale now, or apply the cost of your Camelot ticket to a 3, 4 or 5-show subscription!


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