1. I saw in a couple of places that Camelot is Crumbling is part of a trilogy--one for which you did a lot of background research. What did you research? And what can you tell me about the third show in the trilogy? Has it been written yet? How does it complete the picture?
I visualize Camelot is Crumbling as the final play in the cycle. I think that it speaks for itself, but it may be of some interest to note that it's heavily cut down for Fringe -- in the full draft, there's a third storyline revolving around Percival, tying the action back to The Rise of General Arthur (which largely features the exploits of his father, Pellinore). Light and darkness is a major recurring theme throughout the cycle, as well, and Percival is noted for being the knight that "pierces through the middle." Again, no idea how interested anyone might be in that bit of trivia, but there it is.
2. I'm not sure whether or not I was reading into things or not, but I sensed that there was some intense personal significance for you in writing about these issues--something that came through particularly in some of the things Mordred said and did. Can you tell me anything about the life experiences or personal reflections that led you to create this show?
Much of Mordred's dialogue was written over a decade ago -- heavily, heavily rewritten in that time, but I see him as expressing the frustrations of a younger man, whereas Lancelot is dealing with some seriously grown-up problems. The place I still connect with Mordred is in his irrationally anti-authoritarian streak, his desire to lash out against anyone in a position of power, justly or unjustly. It's that impulse to self-destruct, and to take out everything in range. There's a line of his that I cut from the play (but included in the trailer): "Destroying Camelot is only action that could have any meaning." I've been asked why he does what he does, and I think a lot of it is simply that the destruction of Camelot is a big red button in front of him that he's not supposed to push. And, yeah, there's definitely periods of my life where I identify with that.
3. What is the significance of the symmetrical, side-by-side staging (other than the content and the symmetry between the two characters)?
Moderation's a major theme of the Camelot cycle. Once Lancelot swears himself to an absolute, he's to some degree abandoned his own freedom, rendering his own behavior both predictable and easy to manipulate.
4. What do you hope your audience gets out of being a part of this experience?
The most gratifying thing I hear, and I've heard it a couple of times, is that it leads people back to Malory. He's a better writer than I am, which is why so much of his writing shows up in the show.