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0 of 3 Premium Clicks used this month SUBSCRIBE Print + Online Subscriber Activation | Register x Forgot Password | Need an Account? subscribe | newsletter | deals Classifieds Jobs Autos Real Estate FEATURED » NEWS NOW Jackson County names new community justice director ... Ashland moves towards locally sourced energy ... Vinting by numbers: Annual report released ... Jackson County names new community justice director ... Ashland moves towards locally sourced energy ... Vinting by numbers: Annual report released ... THEATER REVIEW Camelot's 'Spotlight' shines on Broadway Comment By Jeffrey Gillespie For the Tidings DailyTidings.com By Jeffrey Gillespie For the Tidings Posted Aug. 16, 2016 at 6:04 PM By Jeffrey Gillespie For the Tidings Posted Aug. 16, 2016 at 6:04 PM » Social News Camelot Theatre’s “Spotlight On!” series is a reliable favorite at the venue, and with good reason. Simon and Garfunkel, Elton John, Liza Minelli, Roy Orbison and Carol King have all gotten the Camelot treatment. A trend seems to be that many of the artists who are showcased at these cosy evenings seem to have emerged from the 1960s and 1970s. On opening night at Camelot’s “Spotlight on Musical Theatre,” there was a lot more to choose from, with songs and musicals represented that ran the gamut from the early 1960s (with Jerry Bock’s august “Fiddler on the Roof") through to the more contemporary and cutting edge shows of recent acclaim (most notably “Wicked” and “The Book of Mormon”). Judging by the packed house, expectations were running high as to what sort of show we might have to look forward to. With a sporting foursome on stage (David King-Gabriel, Paul Flowers, Audrey Campbell and Zaq Wentworth) the show came off well, with just the right combination of old standards and newer, edgier numbers to keep the crowd happy. Sitting at music stands with gentle lighting, on a sparse set, director Presila Quinby creates the impression of an insider event. Using scant props (the occasional witches hat, trench coat, wig or turban) the performers were able to move seamlessly through number after number. Accompanied by an intelligently rendered script by local journalist Cathy Noah, the show was able to flesh out some of the history and intrigue of the Great White Way (including the reason why Broadway came to adopt that peculiar nickname in the first place — hint: it has to do with lightbulbs.) As usual, King-Gabriel was a confident voice for the theater, anchoring the action with his narration of Noah’s script while also leaping up to perform at various moments. It’s almost becoming redundant to remind patrons that this performer is reliably the best person onstage whenever he comes to Camelot. As a plot sideline to split up the musical numbers, King-Gabriel and Flowers took on the roles of worried parents to the younger cast members, while Wentworth and Campbell did nothing to put those worries to rest as two young adults who both want to go to New York City and pursue a career on Broadway. In between songs, the four hash out their various opinions on the pros and cons of life on the stage, which added an unexpected dimension to the proceedings. Audience participation was also encouraged, and on occasion the lights would come up as the cast let us in for a surprise (the contents of which will not be spoiled here). It appears that the recent trend of audience immersion and participation as spearheaded by Oregon Shakespeare Festival is rubbing off on other regional theatres and, if you like that sort of thing, you’ll have a whale of a time at this show. Audience members were certainly game on the night we attended and were summarily rewarded for their enthusiasm. Flowers, while appearing somewhat reserved at the beginning of the evening, showed her chops in short order with an amusing rendition of “By the Sea” from Sweeney Todd, in which she played up her singing voice into a picture-perfect comedic warble that was subtle but hilarious. Wentworth (a young man who obviously still has a physical vigor long since lost to your critic) bounced around the stage with gleeful enthusiasm during numbers ranging from the genie in “Aladdin” to an overly enthusiastic alpha-male, latter-day saint from “Book of Mormon.” Campbell, an eight-year veteran of Camelot Conservatory, was also a strong voice in the show, particularly in her performance of “Tomorrow” from Strouse & Charnin’s “Annie.” All in all, this series continues to shine a light on the range of offerings available to arts patrons. Designed as an amuse bouche in between Camelot’s more fleshed out productions, the “Spotlight On!” concept is a valid effort and is worth your time if you’re looking for an evening of intimate entertainment that is less florid than much of the usual fare around town. It’s fun to watch, cleverly presented and maintains a crisp pace. Give it a try. Ashland resident Jeffrey Gillespie is a Daily Tidings columnist, arts reviewer and freelance writer. Email him at gillespie.jeffrey @gmail.com. By Jeffrey Gillespie For the Tidings DailyTidings.com By Jeffrey Gillespie For the Tidings Posted Aug. 16, 2016 at 6:04 PM » Comment or view comments Reader Reaction » STAY INFORMED Email NewsLetter Sign Up Today Sign up for our newsletter and have the top headlines from your community delivered right to your inbox. Southern Oregon Directory Featured Businesses Loading... 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