EdFringe Review: Camelton

In 2005, Broadway lyricist Stephen Cole received an email out of the blue: “We want you write musical. How much?” Friends and colleagues in New York warned him it was an obvious scam. When he and his fellow Jewish-American music man, composer David Krane, landed in the Gulf to find no driver waiting at the airport and a hotel reception with no record of their booking, those warnings seemed entirely justified.

Had they genuinely been hired by Middle Eastern royalty to create a mega-musical celebrating the opening of Qatar’s Aspire sports stadium, or were they simply on a wild carpet ride to nowhere? Camelton is Cole’s song-filled, wildly funny account of finding out, turning a bizarre slice of theatrical history into a lovely hour of storytelling.

An early highlight comes in the form of his “Tummler” song. Plucked from Saturday Night at Grossinger’s—a musical Cole co-wrote with Claibe Richardson—the witty food number feels fresh from the musical stages of the mid-20th century. It affords a delightful detour into the Catskill Mountains, the famed “Borscht Belt” resort region that served as a cultural haven for New York’s Jewish community and a fertile proving ground where showmen like Cole cut their teeth once upon a time.

The concept of the tummler—the dependable resort entertainer whose job it was to drive the room’s energy and keep guests laughing—sums up Cole’s performing persona. He brings wide-eyed enthusiasm and a hit of classic showbiz pizzazz to the stage, reviving some archaeological jokes that land with laugh-out-loud precision.

Royal Commissions and Theatrical Chaos

Throughout the hour, Cole plucks numbers from his extensive catalogue of successful past musicals while sliding in fresh compositions. It is lovely to watch a seasoned professional so genuinely in love with both his past and present work. The narrative remains continually compelling, spanning countries and unlikely adventures while giving Cole endless material to send up through gags and songs.

“Camelton is Cole’s song-filled, wildly funny account of finding out, turning a bizarre slice of theatrical history into a lovely hour of storytelling.“

He regularly produces archival slides and physical evidence to verify his career and back up his story, yet he cleverly keeps his powder dry until the very end on whether any of this massive Qatari undertaking actually amounted to anything.

Along the way, memorable moments abound—not least when Nazirah, the team’s Qatari translator, arrives on stage in puppet form. Their eccentric duet, “Must Be”, outlines the Emir’s bewildering, ever-expanding criteria for the commissioned spectacle, which must apparently encompass captive princes, camels, and Muhammad Ali. Then there is “Aspire”, the show’s unapologetically formulaic, schmaltzy anthem. Is it blatantly sugary? Sure. But that will not stop it from sticking firmly in your head, not least because Cole recruits the audience to sing along at least once before the final bow. You will inevitably be humming it on the way out.

Musically, Cole possesses a versatile, pleasant singing voice and a genuine talent for delivering lyric-heavy comedy with sharp timing. What could easily have become a niche, insider-heavy memoir remains universally relatable because Cole focuses on the plain, human comedy of saying “yes” when all the signs scream “NO!”.

The entire saga ultimately culminates in Camelton itself: this very one-man musical show landed at the Edinburgh Fringe. It is a fast-moving, delightfully eccentric hour that turns an extraordinary story into an utter treat. For anyone who appreciates sharp lyrics, great storytelling, and classic cabaret flair, Cole delivers a winning addition to the festival programme.