KC Fringe "Camelot is Crumbling" review by sakuragirl

Verbose, Indeed

Rating: 3

Camelot is Crumbling

KC Fringe Festival

Minnesotan phillip low (why in lower case?) brings his talent to the Kansas City Fringe with "Camelot is Crumbling", a 'behind-the-scenes' tale of what really happened in Camelot from the point-of-view of Lancelot, Mordred and Gawain.

I don't have a Ph.D. in Arthurian legends, but over the years, I've gathered bits and pieces of the tales from Hollywood movies.  So when I think of Arthur, Guinevere and the gang, I imagine typical chain-mail metal uniforms, swooning women and gallant men.  If you had the exact same thoughts as I, get ready for a complete 180.  Performed in the tiny space of the Fishtank, the set was sparsely decorated with a few chairs and tables, and a modern wheelchair.  After taking my seat, I finished reading the piece of Olde English that was in the program.  Modern wheelchair.  Olde English.  Hmm…  Clearly, this play was going to be unexpectedly different.

We meet Lancelot and Mordred, both played by low in very distinctive ways.  Lancelot appears in a WWII-style coat and speaks into a cassette tape about love, loyalty, and fighting for what's right.  He's in a war for Arthur's truth and makes recordings about his experiences so that there is proof of them.  From low's slow, deliberate movements and proper speech as Lancelot, he switches to a smooth Southern accent for Mordred.  Here we find out about Mordred's relationship with his dying father Arthur (hence the wheelchair).  Mordred, dressed in modern fatigues and a Jesus Loves Me T-shirt, had a tormented soul that was difficult to understand.  Maybe it was the heavy, verbose language that lost me – but his slam poetry-like rhythm was engaging.

As low switched back and forth from Lancelot and Mordred, we heard Charlie Bethel's voice as Gawain, divulging information on Camelot's final days.  Bethel's voice was pleasant to the ear and reminded me of listening to a noteworthy book-on-tape.

Unfortunately, after about twenty minutes into the piece, I was tired of listening.  There was an obvious talent that shined in low – his careful movement choices were respectable and his way with words is in a class all on its own – but the language was so intense and long-winded that I had trouble wrapping my head around what was being said.  (Maybe I should have gotten that Ph.D.)

This play may not be for everybody.  However, if you think you can take 60 minutes of constant, streaming words that you may or may not understand, have low take you on a journey of Maximum Verbosity.

Information on how to get tickets for the last three performances can be found at: www.kcfringe.org.