Camelot - Broadway

Give credit to the award winning writer Aaron Sorkin for trying.  Tasked with fixing the problematic book for the new Lincoln Center revival of the Alan Jay Lerner/Frederick Loewe classic, Camelot, Mr. Sorkin (TV’s West Wing and Newsroom, screenwriter of The Social Network, playwright of A Few Good Men and To Kill a Mockingbird) has devised a libretto that strips the original of its magical elements, transforms Queen Guenevere into a more hip, independent woman and adds more solemnity than humor.  The results, unfortunately, are still a show that plods along during the sometimes long intervals between musical numbers.  Oh, but those wonderful tunes.  Within the first 15 minutes audiences will already be treated to such memorable songs as “I Wonder What the King is Doing Tonight,” “The Simple Joys of Maidenhood,” and “Camelot.”

 

The musical is based on the T.H. White novel, The Once and Future King.  The story centers on King Arthur (Andrew Burnap), awaiting, with trepidation, the arrival of his new bride, Princess Guenevere (Phillipa Soo), daughter of the King of France.  Their union will unite the two countries and end their costly war.  Once together, their marriage develops into more of an alliance than a loving relationship.  Arthur, still young and seeking to make England a better, more just kingdom, comes up with the idea of the Knights of the Round Table.  Enter Lancelot du Lac (Jordan Donica), a boastful, but loyal recruit from France.  His affinity to the Queen is apparent.  While she outwardly despises him, her attraction is there and grows stronger through the years. 

There is backstabbing, most notably with his illegitimate son, Mordred, misunderstandings, war, and adultery that rocks the kingdom.  In the end, the king stands alone in an encampment before morning’s battle., with a young boy, Tom of Warwick.  The lad’s words remind Arthur of the idealism he had at the beginning of his reign.  He sends Tom back to England so he can pass along the ideals of Camelot.

 

The score by Alan Jay Lerner and Frederick Loewe, coming right after the wondrous songs of My Fair Lady, might seem like a letdown.  However, besides the aforementioned Scene I numbers, the show is full of memorable tunes such as “C’est Moi,” “The Lusty Month of May,” and the signature song from the show, “If Ever I Would Leave You.”  They are beautifully sung by the cast, especially the selections featuring Phillipa Soo and Jordan Donica.

 

Director Bartlett Sher, who has helmed such lavish Lincoln Center revivals as South Pacific, The King and I and My Fair Lady, presents a more dutiful production of Camelot.  The previously staged musicals were spry, had wit and a more coherent book.  This production, more spare and serious, is less successful, even with Bryon Easley’s playful and frolicsome choreography as shown in the “Lusty Month of May” number.

 

The three leads carry themselves with professionalism, confidence and a fine sense of their roles. Andrew Burnap’s King Arthur convincingly morphs from a young man full of trepidation and doubt about his status and purpose into a thoughtful, mature, yet cynical ruler.  He handles his few singing numbers with verve and aplomb.

 

Phillapa Soo has a gorgeous voice that reverberates throughout the theater.  The actress is a worthy successor to Julie Andrews.  Her Queen Guenevere is feisty and somewhat independent within the castle structure.  Jordan Donica has a muted, dignified stance as Sir Lancelot.  He is vainglorious, but in a noble and serious manner.  Taylor Trensch’s Mordred comes across as slightly over maniacal as he plots his revenge and ruin of the kingdom.

 

Jennifer Moeller’s costumes are resplendent in their radiance and historical accuracy.  Michael Yeargan’s minimal Scenic Design emphasizes the vast and open space within medieval times, such as the castle interior.

 

Camelot, playing at Lincoln Center’s Vivian Beaumont Theater.  Click here for dates and times.