Seven hour epic on a spiritual way

THE legend of Arthur and the Knights of the Round Table has all the elements of great drama romance, passion, chivalry, tragedy, adventure. David Freeman's production of Morte d'Arthur at the Lyric Theatre in Hammersmith satisfied many of these expectations.
This is not a conventional dramatic experience. It is an adventurous, experimental, sensuous, enervating work which challenges theatre to its limit. Moving between the Lyric and St Paul's Anglican church opposite, where the audience walks between several stages set' "on scaffolding, the unwieldy lilot of Arthur's Camelot and ltis attempts to create a better :world meet with much mishap, lain and struggle.
Freeman's decision to present life in medieval complexity is reflected in simultaneous performances. This was a difficult concept and demanded a reappraisal of all I ever knew about drama. Having King Arthur stroll up through the audience followed by the whole of Camelot succeeded in showing this legendary hero as a human being and a people's King.
Convincingly played by Robert Swum, King Arthur initially has all the right qualities for leadership. His ideals are commendable and his love for his knights strong.
The introduction of the search for the Holy Grail, the sacred chalice supposedly the vessel used by Christ in the Last Supper, compliments Arthur's vision of a better world. The Grail has always captivated the imagination of christians through the centuries.
Here the knights are touched by the coming of Christianity and the quest for the Holy Grail replaces their Round Table commitment.
There are definite parallels in Arthur's tale and the christian story. Arthur at one point is presented on a cross, and Merlin, his magician, strongly acted by Chris Tranchell, slips easily into the role of priest. With the richness and mystery of Arthur's magical aura the later rituals of christianity seem of an equally supernatural, baffling and mystical world order.
There was no relief in the seven hour production. These kingly and christian structures seem destined to failure and there was no hope except for one goodly white knight. But he alone cannot lift the tale from complete catastrophe. The spiritual way, Feeeman, seems to suggest, is in essence once of peace, love and hope and for this to reign it means a complete overhaul of the unwilling hierarchical world power structure.
Rita Wall