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Feb 21 – Mar 30
Gilliam Stage at Barter Theatre

Book and Lyrics by Alan Jay Lerner

Music by Frederick Loewe

Set amongst the mystical forests and striving for the perfect civilization, Camelot tells the beloved tale of King Arthur and the Knights of the Round Table as they strive to bring goodness and fairness to a world in turmoil and fear. With legendary and romantic score (“If Ever I Would Leave You,” “I Loved You Once in Silence”), Camelot has won the hearts of generations of musical theatre lovers. Filled with adventure, struggles, love, and idealism that champions the potential of humankind, this story is sure to warm your heart and fill you with wonder and joy at the possibility of what can be achieved in a world filled with ideals.

CAMELOTis presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI.

Director's Notes

On CAMELOT – Director’s Thoughts

If you are from a particular generation, you cannot listen to the final chorus of the title song of this musical without a memory of a time of idealism in our country. Yes, it was also a time of confusion, conflict and chaos, and yet, each generation also believed inside that our county was, could and/or would become the ideal place in the world to live. None of the generations at the time had the same vision. But we were, for a brief shining moment, united in our belief that we could all make our utopian dream come true.

We need to remember that vision today. And, in fact, I believe that we will see that dream of idealism and a utopian vision of our country once again arising like a pheonix from our current conflict and chaos to inspire us once more with a vision of a world where we can united for the greater good of all.

There is general consensus among modern historians, that King Arthur is really a legend or a myth that originated around the 5th or the 6th century. But whether King Arthur lived or not or whether the myth of King Arther is base upon a real historic figure or not is irrelevant. I say all of this because the legend, the myth, and the fantasy of King Arther has captured the imagination of western culture for almost 16 centuries and has never died. Striving for that utopian vision is what is most important.

Idealism, a utopian vision, is a theory, a philosophy. Someone who has ideals strives to base their behavior on these ideals. Combine idealism with a utopian vision and you have a desire to see the world united behind the behavior of idealism that works for the total benefit of everyone. This, it can be argued, is the core premise of religion. This is also the heart of the foundation of our government. The hope of creating an ideal world driven by a utopian dream is the very premise of King Arthur in his quest for Camelot.

Bryan Davis, American Christian fantasy author (Dragons In Our Midst, Oracles Of Fire, and Children of the Bard), writes, “I believe God has instilled in us a craving, a deep desire to run with Him on a fantastic adventure, yet many of us crawl along in life without even a glimpse of our hidden passion. There has to be a reason for living. There must be a Camelot, a hidden Utopia where we can rest from our personal campaigns. Fantasy opens our eyes to a better place, a shining city we do not yet know. And these stories provide a mental bridge to that city as we pursue horizons we could never distinguish with our physical eyes.”

Such is CAMELOT. Let’s “open our eyes to a better place, a shining city we do not yet know.” And, together, let’s create that world here and now.

Richard Rose, Director of CAMELOT.

In literature, behind almost all science fiction and fantasy books is, at their core, the driving force of idealism.

The Once and Future King by T.H. White (published 1958) based upon Le Morte d'Arthur, (1485) Sir Thomas Malory the final volume of The Whole Book of King Arthur and His Noble Knights of the Round Table.

Isaac Asimov (prolific American science fiction writer and professor of biochemistry), once asked to explain the difference between science fiction and fantasy, replied that science fiction, given its grounding in science, is possible; fantasy, which has no grounding in reality, is not.

Cast & Credits


Director: Richard Rose

Choreographer: Amanda Aldridge

Music Director: Lee Harris

Fight Choreographer: Vincent Carlson

Set Design: Dale Jordan

Costume Design: Amanda Aldridge

Lighting Design: Dale Jordan

Sound Design: Tony Angelini

Stage Manager: Cindi A. Raebel

Assistant Stage Manager: Victoria L. Sutton

Assistant Choreographer: Ashley Campos

Dance Captain: Zacchaeus Kimbrell

Fight Captain: Sean Maximo Campos


Arthur: Nick Koesters

Guenevere: Samantha Bruce

Lancelot: Andrew Hampton Livingston

Pellinore: Mary Lucy Bivins

Sir Dinadan: Justin Tyler Lewis

Merlin/Sir Lionel: Sean Maximo Campos

Sir Sagramore: Zacchaeus Kimbrell

Sir Percivale: Nicholas Piper

Sir Gareth: Shaan Sharma

Mordred: Rusty Allen

Lady Anne/Nymph: Kim Morgan Dean

Ladies of the Court/Nymph: Hannah Ingram

Morgan LeFey/Lady of the Court: Paris Bradstreet

Nimue/Lady of the Court: Katherine Lyle

Tom of Warwick/Squire: Emmitt George Breeding

Corporate Sponsors:

The Barter Theatre Foundation, Inc. Board of Trustees

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