A nervous King Arthur tries to cajole Merlyn, his teacher, to tell him about Guenevere the future Queen. Merlyn knows the future, as he lives from the future into the present. He grows younger instead of aging. Upon her arrival Guenevere dodges the awaiting crowds and hides as she sings The Simple Joys of Maidenhood. Arthur and Guenevere accidentally meet in the forest and are delighted to find they are charmed with each other. The wonderfully placid Camelot, where royal decree sets the tone, becomes the set for a story of love and chivalry.
The trusty Merlyn is lured away from Arthur by a spirit and Arthur is on his own. Five years pass and Arthur tries to follow the course of wisdom set for him by Merlyn. He creates a new philosophy, one that says might should be the weapon of right. He creates the Round Table, a new concept of chivalry whose advocates will be charged with improving rather than destroying, with redressing past wrongs and aiding the oppressed. The table at which these knights will meet will be round so that no one man can take precedence by sitting at the head.
The word of this Round Table spreads to France where Lancelot heeds its call and arrives in Camelot. In C’est Moi Lancelot proclaims that he is the most extraordinary mortal, the perfect and invincible knight. He has dedicated his life to the quest for perfection in body and spirit. The queen and her party are engaged in a May day outing when Lancelot arrives. Everyone finds him pompous and disagreeable except Arthur.
Pellinore, a comic old knight in rusty armor, delays his perpetual search for a rare beast, to stop with his old friend Arthur upon Guenevere’s invitation. Lancelot is challenged by Sir Dinadan, Sir Sagramore and Sir Lionel the three strongest knights. In The Jousts he defeats all three, and even miraculously brings Sir Lionel back to life after killing him. Lancelot finds that he has fallen in love with Guenevere and sings If Ever I Would Leave You to illustrate the strong hold Guenevere’s love has on him. Mordred, the evil son of Arthur, arrives and tries to dishonor the King. He mocks Arthur’s high ideals and tries to foster Guenevere’s love for Lancelot. Arthur becomes despondent and Guenevere tries to cheer him with the lovely number What Do Simple Folks Do. The knights begin to grow restless for the battles of old when Arthur’s leadership wanes. Mordred has Guenevere arrested and sentenced to burn at the stake for her love of Lancelot. The number Guenevere telescopes this action in a Camelotian form of Greek chorus, as she escapes to France with Lancelot. Arthur declares war on Lancelot, but just before the fighting begins forgives them both. He is sad and disillusioned, his dream of love is destroyed, and that of chivalry ruined.
Tom, a boy about 14, appears and wants to join the Round Table. Arthur knights him, and sends him to tell the world of Camelot’s quest for right and honor and justice. Additional memorable numbers include Camelot, Lusty Month of May, How to Handle a Woman and I Wonder What the King is Doing Tonight.


Sir Dinadan – Peter Moody

Sir Lionel – Bill Levezow

Merlyn – Tim Adriansen

Arthur – Jerry Colbert

Guenevere – Nancy Pieper

Nimue – Kathy Kosloske

Pages – Tom Radtke, Steve Schmeiser

Lancelot – Doug McDade

Dap – Mary Winchell

Pellinore – K.M. Bailey

Clarius – Jon Bauer

Lady Anne – Marilyn Zimmermann

Lady Sybil – Marion Panke

Sir Sagramore – Jim Weimann

Herald – Jon Bauer

Mordred – Glen Kimmel

Morgan LeFey – Cathy Schnader

Guenevere Soloists – Peter Moody, Tim Adriansen

Tom – Arvad Ashby

Horrid – Regan Jerving

Castor – Don LaFave

Lords & Ladies of Camelot – Tim Adriansen, Jon Bauer, Marie Becker, Mary Braun, Marcia Hahn, Peggy Hickey, Mary Keen, Emilie Koch, Kathy Kosloske, Nancy Levenhagen, Don LaFave, Bill Levezow, Starr Margenau, Peter Moody, Rick Mueller, Marion Panke, Richard Pool, Mark Reihl, Laura Scahill, Mike Scahill, Cathy Schnader, Joel Schuyler,Bob Stroh, Mark Tellen, Rosemary Tellen, Jim Weimann, Meg Winchell, Marilyn Zimmermann

Production Staff

Director/ Designer: James Loeffler

Musical Director: Barbara Pragalz

Choreographer: Sherry Kunde

Assistant to Director: Marilyn Zimmermann

Assistant to Designer: Pal Scahill

Technical Manager: Henry  Weinberger Jr.

Stage Managers: Rick Mueller, Fay Klemme

Floor Manager: Ed Wittrock

Costume Design: Pat VonRautenkranz

Light Design: Don Zastrow

Sound Design: Carter VonRautenkranz

Properties: Betty Segor

C0-Chairman: Pearl Haartman

Special Prop Construction: Phil Segor

Make-Up Design: Nancy Spalinger, Gloria Resnick

Hair Stylist: Mary Braun

Cover Art: Roger Lahm

Production Photographer: Rick Gustafson


Rehearsal Pianist: Karin Schreiber

Special Orchestral Arrangements: Kathleen McGregor

Cooperating Director: Steven Hofschield

Flute/ Basson: Tom Nigbor

Flute/ Clarinet: Marty Braatz

Clarinet: Wendy Wirth

Tenor Saxaphone: Chuck Richardson

French Horn: Dean Sandvig

Trumpet: William Wein, Tom Buettner, Jeff Resch,

Trombone: Bob Braun, Emily Mattsson

Piano: Barb Pragalz

Bass: Rick Gustafson, Carl Weinberger

Percussion: Steven Hofschield, Matt Bayens