Performance & Production Credits

Produced by: Indianapolis Opera and David Starkey

Director: Scott Parry

Conductor: Kelly Kuo

Choreography: Bobbi Bye

Scenic Design: Shane Cinal

Lighting Design: Quinten James

Projectionist: Zach Rosing

Costumes by Utah Opera

Technical Director: Troy Trinkle

Stage Manager: Philip Christiansen

Assistant Stage Managers: Seamus Ricci, Kathy Hoefgen

King Arthur: Daniel Narducci

Guenevere: Marci Jackson

Lancelot: Luke Scott

Merlin/Pellinore: David Paul Mosedale

Mordred: Benjamin Adams

Nimue: Therese Pirçon

Lady Sybil: Lauren Carter

Lady Anne: Rachelle Woolston

Sir Dinadan: Zachary Angus

Sir Lionel: Brandon Evans

Ensemble: Vandi Enzor, Heather Hansen, Megan Swazuk,Michael Durnil, Ronald Spriggs, Shederick Whipple

Bringing musical theater to opera audiences

Camelot was the second mainstage production during Indianapolis Opera’s 2018-19 season, and the third lyric theatre piece the company produced in as many years. Scott Parry was asked by David Starkey to direct the piece, and it was Parry’s job to lead us through the challenges of presenting Camelot on stage as an opera company.

There have been several iconic iterations of Camelot, including the original production with Julie Andrews, Richard Burton, and Robert Goulet, the filmed version with Richard Harris, and separate stage revivals featuring Harris and Goulet as King Arthur. Every production accordingly has its own point of emphasis, from historical recreation to fantasy frivolity or examinations of governments. Luckily our cast included one person who had hundreds of performances under his belt working with people that had originated the role. That person was Daniel Narducci, a long-time Lancelot to Robert Goulet’s Arthur taking on the role of king for the first time.

Parry’s dramaturgic perspective as a director of many lyric theatre pieces created a sleek plan for managing Camelot’s massive length to return emphasis towards the musical numbers. Narducci was a very gracious coach on the field, offering time-tested insight when it was sought out by other cast mates or staff. The leadership by the two of them, in addition to the sharp conducting of Kelly Kuo, led to a successful production of Camelot.

Parry and I developed a good working relationship at the director’s table where I recorded staging and took notes during runs. I further proved my usefulness as we quickly programmed the many light cues for the show over two days of light sessions. Between my training from FSU and my own experience now hanging, focusing, and programming lights, I know how important it is to have a good light walker. A light walker’s job is to stand in the place of an actor so that the lighting designer and director can check levels and adjust any instruments for a particular area. When programming hundreds of cues over a short amount of time, the most important thing a light walker can do is be able to follow along with the discussion in the house and move to the next light, provided they know the show. We were able to put the entire cue list together along with Quinten James and Philip Christiansen, and I am glad to have played a role in the efficiency of our tech process.