Camelot Please turn off cell phones. No photography or recording devices allowed. Director’s Notes Camelot Despite being set in the twelfth century, this play pulls at some of the same threads of injustice that we’re struggling with today. This is not to say that you should Will Princess Guenevere be the best thing watch the play with an eye to politics, but it will help to explain the urgency the cast that ever happed to Arthur or the downfall of has to tell the story and remind us that, though there will always be a “bad guy” an empire? In a world where might is right, around to destroy what we’ve built, there will always be someone good standing King Arthur has a revelation that could set ready to start building it back up, or, at least, to tell the story. Without people telling the world on a path towards a fair and just the stories, we risk losing everything we’ve gained from them existing in the first land for all while taking on his biggest place. We mustn’t forget... challenge yet: women. A fresh take on the age old story of King Arthur, a man with big I’ve enjoyed every minute of working with this group of passionate, driven, dreams, featuring the beautiful music of intelligent, caring individuals. This show has truly been a collaborative adventure, a Alan Jay Lerner and Fredrick Loewe. meeting of minds and hearts. They fostered a strong sense of ensemble and helped Hayden Clewes as King Arthur and Olesia Shewchuk as Guenevere. each other learn and grow every step of the way and I couldn’t be prouder. (Photo by Shula Klinger ) Huge thank you’s go out to Glen, Bob, Bill, Alison, Cecilia, Laura, Bruce (and his Act I team of merry carpenters), Anne and Judith for helping to bring Camelot to life. Scene 1: A hilltop near the Castle at Camelot — A clear afternoon. Scene 2: Same as Scene One — Immediately following. Scene 3: The King’s Study — Early evening, five years later. Now, please get comfortable. We have a story to tell you. Scene 4: Countryside not far from the games of Camelot — The First of Chalene Scott May, a few months later. Scene 5: A Park near the Castle — Immediately following. Scene 6: A Terrace of the Castle off the ground floor — Sundown, two weeks later. Scene 7: Four dressing tents — The next day. Scene 8 The grandstand facing the Field — Immediately following. Scene 9: The Terrace — Early evening of the same day. Scene 10: A corridor in the Castle — Immediately following. Scene 11: The Great Hall — Immediately following. There will be one 15~minute intermission Act II Scene 1: The Main Terrace of the Castle — Afternoon, a few years later. Scene 2: The Terrace of the Castle — Late afternoon, a month later. Scene 3: A Forest near Camelot — Late afternoon, the next day. Scene 4: The Forest of Morgan Le Fey — Immediately following. Scene 5: The Corridor outside the Queen’s Bedroom — Later that night. Scene 6: The Queen’s chamber — Later that night. Scene 7: A neutral timeless background. Scene 8 The Battlefield outside Joyous Gard — Pre-dawn. Page 3 Camelot Please turn off cell phones. No photography or recording devices allowed. Director’s Notes Camelot Despite being set in the twelfth century, this play pulls at some of the same threads of injustice that we’re struggling with today. This is not to say that you should Will Princess Guenevere be the best thing watch the play with an eye to politics, but it will help to explain the urgency the cast that ever happed to Arthur or the downfall of has to tell the story and remind us that, though there will always be a “bad guy” an empire? In a world where might is right, around to destroy what we’ve built, there will always be someone good standing King Arthur has a revelation that could set ready to start building it back up, or, at least, to tell the story. Without people telling the world on a path towards a fair and just the stories, we risk losing everything we’ve gained from them existing in the first land for all while taking on his biggest place. We mustn’t forget... challenge yet: women. A fresh take on the age old story of King Arthur, a man with big I’ve enjoyed every minute of working with this group of passionate, driven, dreams, featuring the beautiful music of intelligent, caring individuals. This show has truly been a collaborative adventure, a Alan Jay Lerner and Fredrick Loewe. meeting of minds and hearts. They fostered a strong sense of ensemble and helped Hayden Clewes as King Arthur and Olesia Shewchuk as Guenevere. each other learn and grow every step of the way and I couldn’t be prouder. (Photo by Shula Klinger ) Huge thank you’s go out to Glen, Bob, Bill, Alison, Cecilia, Laura, Bruce (and his Act I team of merry carpenters), Anne and Judith for helping to bring Camelot to life. Scene 1: A hilltop near the Castle at Camelot — A clear afternoon. Scene 2: Same as Scene One — Immediately following. Scene 3: The King’s Study — Early evening, five years later. Now, please get comfortable. We have a story to tell you. Scene 4: Countryside not far from the games of Camelot — The First of Chalene Scott May, a few months later. Scene 5: A Park near the Castle — Immediately following. Scene 6: A Terrace of the Castle off the ground floor — Sundown, two weeks later. Scene 7: Four dressing tents — The next day. Scene 8 The grandstand facing the Field — Immediately following. Scene 9: The Terrace — Early evening of the same day. Scene 10: A corridor in the Castle — Immediately following. Scene 11: The Great Hall — Immediately following. There will be one 15~minute intermission Act II Scene 1: The Main Terrace of the Castle — Afternoon, a few years later. Scene 2: The Terrace of the Castle — Late afternoon, a month later. Scene 3: A Forest near Camelot — Late afternoon, the next day. Scene 4: The Forest of Morgan Le Fey — Immediately following. Scene 5: The Corridor outside the Queen’s Bedroom — Later that night. Scene 6: The Queen’s chamber — Later that night. Scene 7: A neutral timeless background. Scene 8 The Battlefield outside Joyous Gard — Pre-dawn. Page 3 Production Team Cast List Director Chalene Scott King Arthur Hayden Clewes Producer Glen Miller Guenevere Olesia Shewchuk Stage Manager Bob Bradley Lancelot Carlos Vela-Martinez Music Arranger Patrick Boudreau Pellinore Peter Robbins Choreographer Ariyanna Pascuzzi Merlyn Aralyn Walker Morrison Set Designer Laura Wallace Mordred Adam Manfredi Lighting Designer Bill Howorth Morgan le Fey Shula Klinger Sound Designer Bob Bradley Sir Dinadan Christopher Hall Lighting Operator Chris Stanley Sir Lionel Thomas Chan Construction Crew Bruce Lindsay, Chris Vetterli, Lady Anne Shaheeza Lalani David Taylor, Doug Davies, Squire Dap Danika Svetelj Don Rutherford Nimue Shaheeza Lalani Properties Laura Wallace Page Sawyer Jayne Reichelt Set Decoration Laura Wallace Tom of Warwick Kerensa Cooper Painting Laura Wallace Ensemble Val Mamillan Costumes Alison Thomas Kerensa Cooper Costume Assistant Cecilia Silva Sawyer Reichelt Chainmail Knitters Alison Thomas, Anne Marsh, Shaheeza Lalani Isobelle Houston, Margie Bruce Danika Svetelj Swords Crafted by Carlos Vela-Martinez Thomas Chan Publicity Anne Marsh Christopher Hall Front of House/Box Office Caroline Jarvis Shula Klinger Adam Manfredi Aralyn Walker Morrison Acknowledgements Fairy Court Val Mamillan Judith Barkley White • Fran Heaney Kerensa Cooper Our partners, First Impressions Theatre Sawyer Reichelt North Vancouver Community Players • North Shore News Shaheeza Lalani Mount Lions Housing Society • Mount Seymour Ladies Lions Danika Svetelj Maureen and the Deep Cove Cultural Centre concession volunteers Aralyn Walker Morrison Page 4 Page 5 Production Team Cast List Director Chalene Scott King Arthur Hayden Clewes Producer Glen Miller Guenevere Olesia Shewchuk Stage Manager Bob Bradley Lancelot Carlos Vela-Martinez Music Arranger Patrick Boudreau Pellinore Peter Robbins Choreographer Ariyanna Pascuzzi Merlyn Aralyn Walker Morrison Set Designer Laura Wallace Mordred Adam Manfredi Lighting Designer Bill Howorth Morgan le Fey Shula Klinger Sound Designer Bob Bradley Sir Dinadan Christopher Hall Lighting Operator Chris Stanley Sir Lionel Thomas Chan Construction Crew Bruce Lindsay, Chris Vetterli, Lady Anne Shaheeza Lalani David Taylor, Doug Davies, Squire Dap Danika Svetelj Don Rutherford Nimue Shaheeza Lalani Properties Laura Wallace Page Sawyer Jayne Reichelt Set Decoration Laura Wallace Tom of Warwick Kerensa Cooper Painting Laura Wallace Ensemble Val Mamillan Costumes Alison Thomas Kerensa Cooper Costume Assistant Cecilia Silva Sawyer Reichelt Chainmail Knitters Alison Thomas, Anne Marsh, Shaheeza Lalani Isobelle Houston, Margie Bruce Danika Svetelj Swords Crafted by Carlos Vela-Martinez Thomas Chan Publicity Anne Marsh Christopher Hall Front of House/Box Office Caroline Jarvis Shula Klinger Adam Manfredi Aralyn Walker Morrison Acknowledgements Fairy Court Val Mamillan Judith Barkley White • Fran Heaney Kerensa Cooper Our partners, First Impressions Theatre Sawyer Reichelt North Vancouver Community Players • North Shore News Shaheeza Lalani Mount Lions Housing Society • Mount Seymour Ladies Lions Danika Svetelj Maureen and the Deep Cove Cultural Centre concession volunteers Aralyn Walker Morrison Page 4 Page 5 Bios Bios Chalene Scott ~ Director ~ Chalene has been doing theatre since Peter Robbins ~ King Pellinore ~ Peter Robbins ~ Peter has played a she could read and is pleased as punch to working with a group she's duke, a knight, a colonel, a captain, a policeman and a vicar. In 2015 known for almost as long. She recently directed The Fantasticks he was a pornographer cameraman in People (United Players). In (Stage 43) and has worked in Deep Cove before (Escape from 2017, he played Monsieur Orgon in The Game of Love and Chance Happiness with First Impressions).