Tag Archives: Camelot

Camelot Officials Ready for 2020 Season

Camelot Theatre’s Artistic Director, Shawn Ramagos, a former Disney lighting and special effects technician, brings considerable stagecraft expertise to Camelot productions. Executive Director, Dann Hauser, came to Camelot with an extensive marketing background. We met in the theater’s board room to discuss their plans for an eclectic 2020 season.

SR: With this season, I wanted to reach all of the demographics that we have, young and old. I think there’s a little bit of something for everybody.

EH: How does the Camelot experience differ from other Rogue Valley theaters?

SR: We focus on large-scale musicals and musical spotlights.

EH: How has Camelot changed in the past two years?

DH: [Ramagos] has brought a whole new stagecraft to the quality of our shows. Before, our sets used just a small portion of the stage. Shawn goes from edge to edge and beyond that, taking in the whole proscenium, better lighting, better sound.

SR: When we talk quality, we don’t just talk about great acting and great singing. We also look at the technology and the scenery. I created our “Behind the Curtain” series. It’s a YouTube channel that we have. It shows how we do what we do on stage.

Continue reading Camelot Officials Ready for 2020 Season

Backstage: Oldest profession? It’s storytelling

After eight seasons with the Camelot Theatre, Artistic Director Roy Von Rains feels very lucky that he’s been able to work with some of conference room to reflect on the unique experiences intrinsic to “community theater” and its impact on society.

RVR: As humans, we are storytellers. People have said that the oldest profession is prostitution. I absolutely disagree. I think storytelling is the oldest profession. It’s been around since painting on cave walls, and it will probably continue to permeate society as we travel through the stars. It’s such an important part of who we are. Continue reading Backstage: Oldest profession? It’s storytelling

An artist’s responsibility to say something

Actor/Writer Cynthia Rogan will perform in Camelot Theatre’s next production, “Calendar Girls,” opening Feb. 8. Based on a true story and popular movie, the play tells about the making of a pin-up calendar by photographing ordinary middle-aged women. Rogan, a former blues singer from Mobile, Alabama, writes, acts, and performs improvisational theater in the Rogue Valley. We met at Starbucks on Bartlett Street in Medford.

EH: Tell me about your experience with improvisational theater.

CR: That is some scary stuff. You have to know when to start on something else. If it is not good, it is horrid. When you are in the moment, you don’t always know if it’s not working.

H: What do you do to prepare?

CR: Practicing with the people you’re working with is all you can really do to prepare for it. And even then, you never know what the audience is going to throw at you. The group you’re playing with has to be your net. If someone starts to fall, you catch them, and you give them something else to look at, to keep the members of the troupe going and to keep the audience interested. Improvisation is exhilarating. Continue reading An artist’s responsibility to say something

Musical staging of ‘Chess’ coming to Ashland in the fall

Livia Genise
Livia Genise

Livia Genise, former artistic director of Talent’s Camelot Theatre Company, is now directing the musical “Chess” for Ashland Contemporary Theatre. It opens in September.

Genise, a veteran actor of Broadway, off-Broadway, regional theater and Hollywood, first came to Ashland in the 1980s. She raised her children and earned a degree in music from Southern Oregon University before she took on the directorship of Camelot Theatre.

During her 10-year tenure at Camelot, Genise fostered the enormous growth of the organization and mentored a generation of young theater artists.

EH: Tell me about “Chess.” Continue reading Musical staging of ‘Chess’ coming to Ashland in the fall

Renee Hewitt

Renee Hewitt
Renee Hewitt

“Les Miserables,” directed by Renee Hewitt and playing now at Camelot Theatre in Talent, is a stunning production. Lasting more than three hours, with 33 cast members, the production is so powerful that you barely notice that all of the dialogue is sung.

Although she is an accomplished actor, this is Hewitt’s maiden voyage as a director. We visited at the Camelot Theatre one Sunday afternoon.

EH: How did you get such great performances from your cast?

RH: It’s such an incredible story and it is very moving. I think that I let myself be vulnerable and I let them see how much intention I have. It’s such a great cast. They’re such great people.

Continue reading Renee Hewitt

Kelly Jean Hammond

Kelly Jean Hammond
Kelly Jean Hammond

In Camelot Theatre’s musical production of “The Producers,” the role of Ulla Inga Hansen Benson Yonsen Tallen-Hallen Svaden-Svanson, the stunning Swedish singer/ secretary/ receptionist, is played by Kelly Jean Hammond. The production features a number of stellar performances and a great ensemble cast.

Hammond, a graduate of Ashland High School, earned a bachelor’s degree in music from Notre Dame de Namur University and did some post-graduate studies at American Conservatory Theatre in San Francisco before returning to Ashland, where she now works as a buyer at Paddington Station by day and performs musical theater at night. We met at Starbucks in downtown Ashland.

Continue reading Kelly Jean Hammond

Nathan Monks

Nathan Monks
Nathan Monks

In The Camelot Theatre’s production of “The Producers,” Nathan Monks plays Franz Liebkind, a volatile former Nazi who wrote the “worst play ever written,” “Springtime for Hitler.” A trained actor and singer, Monks is new to Camelot Theatre. We met at Starbucks on Crater Lake Highway in Medford.

NM: I’ve been fortunate enough to be cast in multiple shows for the upcoming year. I’m very excited about that.

EH: What was the audition process like?

NM: We were asked to prepare about a 2-minute monologue and 16 to 32 bars of a song. Then they gave you a slip of paper with just a single musical line on it and the starting pitch. They asked you to sight read it: a little testing of your overall ability to read music.

Continue reading Nathan Monks