"Uncle King Arthur"
Review by Ed Phillips for the Columbia River Reader
 Nov. 5, 2010

        According to the Oxford Companion to English Literature's description of Le Morte DArthur by Sir Thomas Malory, "Gareth of Orkney, Sir (or Gaheret of Orkney, Sir) the third son of King of Orkney and Arthur's sister Morgawse who, on his arrival at Camelot, is made to work in the kitchen and nicknamed 'Beaumains…and the book is largely concerned with his rescue of the lady Lyonesse from Ironsyde and his being brought there by the haughty Lynette."
        So, the myth, fable, legend, whatever of Gareth has an actual basis in English literature. This story was converted into a children's musical by Milburn Smith and performed at some time(s) and some place(s) and then figuratively buried. His version of the story has Gareth being sent to King Arthur by his mother to join the court. He sets out with his servant, a mute dwarf (a subplot concerns the feat necessary to regain the dwarf's voice). Balking at privilege he hides his identity and takes a scullery position with the king in the hopes of earning his privileges. Some picaresque adventures then ensue involving a dragon, an ogre and a removing of the dwarf's curse of silence. It is all good family fun for all ages. No real blood and gore involved.
        Director Jueanne Meyers of Rising Star Productions, along with musical accompanist Greg Moore, are to be congratulated on a deft reconstruction of Smith's play from the shards. The record was clearly incomplete and much of Smith's musical accompaniment, improvised on the spot, has disappeared into the ether. Like professional archaeologists Meyers and Moore have done an excellent job of reconstruction and re-imagining from ancient incomplete records.

(Note from the director to set the record straight: The script was complete, the lyrics were complete. The script was unpublished, not unfinished.  The only things missing were pieces of the accompaniment where the composer had not completely written out his musical record.  To imply that we had to reconstruct from "shards" is unfair to the author. )

        It is a children's (youth) production and exudes energy and enthusiasm. Some of the production numbers are choreographed with forty or more players. There are few adult roles in a play that features almost fifty players. Most appear to be of high school age or younger and all appear to be having a good time with the yarn.
        Choreographer Kristy Larson has managed to stage some ingenious production numbers with this large cast and harnessed their youthful energy into a few megawatts of musical entertainment. The final number: "Let the Banner Stand" is an outstanding musical achievement. There are sixteen songs in the presentation and a number of them have been reconstructed with styles from Bach to the Star Wars theme by accompanist Moore. He is a talented, enthusiastic, creative musical force and a major source of the play's energy.
        The bare stage uses banners to evoke the Arthurian flavor to the proceedings. This frees the stage for the space needed for the production numbers. Very clever. The costuming was very good. The Red Knight and the Ogre were especially well adorned. You don't get that stuff at Men's Warehouse.
        The play is campy and for the most part it works. The jokes and gestures work well for the younger members of the audience and are enjoyed by the adults also. There is something for everyone. Generally I thought the acting was up to the demands of the play but I must mention Nathan Meyers as the Red Knight, Robert Larson as Gareth, Rebekah Kitchens as Lynette, Clarissa Aaron as Lynor, and McKay Graff as the Ogre. All gave excellent line readings. Samuel Larson as Axatalese, the dwarf mute, demonstrated that silent comedy is alive and well in Kelso.