Word: comically
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...platform with a "throne" on one end and a ladder on the other--instead of 16 different sets, a cast pared-down from 28 to just eight, one pianist instead of an orchestra, and less than extravagant costumes. These measures give focus to Camelot's story, nicely highlighting its comic verve and the lusty love triangle between King Arthur, his Queen, Guinevere (usually referred to as Jenny) and Sir Lancelot. The cast conveys such high spirits and passions that their performances overcome any bothersome sense of the play's datedness...
...must amusing numbers is "C'est Moi," the entrance tune of Sir Lancelot (Andrew Gardner), a self-proclaimed "French Prometheus unbound." Gardner deftly embodies a ridiculous paragon of self-confidence and self-righteousness. He has a handsome easy manner and he uses his mobile (and bushy) eyebrows to great comic effect. From France, Lancelot has travelled to join Arthur's new order, the Knights of the Round Table, a chilvalrous fraternity dedicated to Arthur's new Machiavellian philosophy that might should be the weapon of right. Arthur welcomes him readily while the rest of the court initially is sickened...
Like the long subtitle of Kubrick's Dr. Strangelove ("How I learned to stop worrying and love the bomb"), McElwee intends his heading to be freighted with the self-reflective and humorous tone that spirits both films. Had his foibles and follies been related without a strong dose of comic relief, the film could have degenerated into confessional and self-indulgent mush...
...fact, it is your rabid talk of overthrow that has given me the germ of an idea of how to fight your empire of evil...after all these years of hearing you blabber, I can exaggerate your comic-book Marxism to the point where it does nothing but damage to your cause...
...Charles and Di's royal nuptials were transformed into a product for public consumption by the mass invitations sent out via television, the "class equalizer." Roland Barthes's "I Hear and I Obey..." goes to obscenity's other extreme, reducing audience participation to instinctive impulse. Guido Crepax's comic strip, "The Story of O," illustrates how it is in the insidious positioning of narrator and audience that pornographic outrage finds expression; as Barthes observes from the sidelines, O's sexual organ...