Before I went to see the Great American Melodrama’s production of A Connecticut Yankee in King Arthur’s Court, I tried to remember the last time I read the book. Mark Twain’s classic 1889 comedy intersperses tales of the Arthurian legends with a comedy about American exceptionalism.
It’s been fodder for adaptation before. In 1949, the great Bing Crosby crooned his way through a romantic take on the material, and in 1989 child star Keshia Knight Pulliam starred in a version that cast her as a woman named Karen thrust into the days of the Round Table. I hadn’t picked up a copy of the story since an American comedy writing class I had in college [REDACTED] years ago and I was immediately thrilled to see that it was still a popular tome for young audiences.
This newest adaptation is in the capable hands of the Pacific Conservatory Theatre’s (PCPA) Matt Koenig, who was last seen on stage in PCPA’s The Whipping Man. Koenig, a highly skilled and physical actor himself, has transformed a good (if at times slow) novel into a raucous romp of a comedy. A Connecticut Yankee begins with Hank Morgan (Jeff Salsbury), a young engineer from the 20th century who wakes to find himself in Camelot, ruled by King Arthur.
Through some trickery of his own, Morgan convinces King Arthur (Mike Fiore) and the loyal subjects of Camelot that he’s a magician. Aided by his very own comedic sidekick Clarence (Sierra Wells), Morgan proceeds to improve Camelot, despite the efforts of a maniacally evil Merlin (Toby Tropper), by slowly bringing its technology into the 20th century.
One of the best things about theater at the Melodrama is that the energy and passion of the cast is so infectious, it’s impossible to leave without having a good time. Every single line is a punchline or a lead-in to another joke. Koenig has managed to pack his adaptation with a variety of timely references and ageless one-liners.
In a play where they have good material to work with, actors like Salsbury, Wells, and Tropper are free to run wild with their comedic instincts. Wells is an absolute stage darling, one who seems to exist with a fiery insistence on making every single person in the room laugh until they fall over. Tropper does a fantastic job swinging from comical villain to endearing storyteller. Salsbury is magnetic as a lead; whether he’s delivering comedic lines or sharing a sweet romantic moment with co-star Wetzel.
In a play where a handful of actors are tasked with playing dozens of characters, it’s almost certain that something can go wrong, but with these actors that’s the point. Some of the best moments come when they can no longer hide their dual roles (Wells’ “fight” as both Clarence and Morgan le Fay is an absolute riot).
Moments when the cast seem to wink to the audience as if to say, “Yeah, we know these are stick horses, but what are you gonna do?” feel refreshing and spirited. There’s a playful sense of adventurousness and can-do spirit among this group of performers that seems perfectly mirrored by Twain’s source material.
A Connecticut Yankee in King Arthur’s Court is definitely one of the most fun experiences I’ve had at the theater. If you’re looking for good jokes, big laughs, and a community of passionate artists excited about entertaining an audience, then the Great American Melodrama’s new production is the way to go.
If Arts and Lifestyle Writer Rebecca Rose could go back to any time period in history, she would go back to 1987 and tell herself not to wear acid-washed denim. Contact her at rrose@santamariasun.com.
This article appears in May 11-18, 2017.