This is a follow-up on the review started on October 5th.
One of the impressive aspects of the play is the French accent affected by Greg Frediani in his role as Lancelot. I turned to my companion who has studied the french language for some years and asked, “Is his accent real?”
“No,” she said. “But it’s very good!” I’ll have to take her word for it. The amazing part is that he also sang with a French accent. Usually, accents disappear in song. Mr. Frediani sang like a frenchman.
Much of the communication in this play is done with the face. There were so many times during the action where it was important to pay attention to the face and body language of the actors. When Arthur, still in the throes of his man-crush on Lancelot, first realizes the extent of the relationship between his wife and his best friend. There’s a lot going on on the stage at this moment, but Chris Olson made sure you noticed his reaction. Another example is of Levi Morris as Mordrid, who was positively smarmy, dreadfully loathsome, and reminded me a lot of some politicians I know. He really nailed the role, showing gleefully evil delight in Arthur’s fall from grace.
Andy Serrano, in his role as Sir Dinadan, also mastered the body language of the role. First humorously, in his deference to the wizard Merlin, and then far more seriously in his face off with Lancelot, calling him a “sermon on a mount.” The pun on the word “mount” could have lead to a flippant or farcical treatment of the scene, but one look at Serrano’s face convinced you that the words were no joke but a biting commentary.
Kevin Myer and Nivek Reym played a duel role as Merlin and King Pellinore. (Get it? Nivek Reym is Kevin Myer spelled backwards and Merlin lived life backwards? Sometimes the program at Spindrift is as entertaining as the play.) Kevin is a delightful comedic distraction, and we wondered if he hadn’t played Don Quixote in a different incarnation.
I hate sounding like someone on a popular reality television show, but we were disappointed in the dancing. My companion and I both felt that the dancers were capable of much more, but since this is only Pacifica and their relatives came last week, they didn’t give it their best shot. It made us wish we had been their when the dancers’ relatives were also there.
The group dancing was awkward on such a small stage. There wasn’t enough room for everybody to get into the swing of it, especially Bradley Bollinger, as Sir Lionel, standing at over six and a half feet.
As I said in Part 1 of this review, we have no complaints about the singing and acting. The play was, however, visually unappealing.
Arthur – Chris Olson
Guenevere – Michele Choe & Tricia Callero
Lancelot – Greg Frediani
King Pellinore – Kevin Wm. Myer
Mordred – Levi Morris
Sir Dinadan – Andy Serrano
Sir Sagramore – Mike Fair
Sir Lionel – Bradley Bollinger
Morgan Le Fey – Marti Coyne
Nimue – Robin Hansen
Tom of Warwick – Ted Keil
Also Laurie Wall, Candy Plato, Rita Wolper, Sterling Wolper, Cat Woish, Elizabeth Winfield