Reviewed by Judd Hollander
Some people will always be resistant to change. Though if said changes
are truly worthwhile, one should never stop trying to make them a reality. This
is the message at the heart of the 1960 Alan Jay Lerner and Frederick Loewe
musical, Camelot. A revival of which
is now at
Based on T.H. White’s “The Once and Future King,” Camelot takes place in a mythical medieval
Arthur is rather unique when it comes to royalty, as he is not of noble blood and only ascended the throne after he pulled out a sword embedded in a large stone. A feat thousands of others had tried and failed. Despite feeling ill-suited to his position, and remembering how harshly the kingdom’s knights and others in power have treated the masses, Arthur has a vision of a new era. One where knights are defenders of justice, honor, and chivalry. Though it soon becomes apparent many of those who formerly enjoyed almost unlimited power, and the pleasures it afforded, are not happy with these new guidelines.
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Other potential trouble appears in the form of Lancelot du Lac (Jordon Donica); a Frenchman of great courage, virtue, and strength. Something he continually reminds himself, and everybody else. Lancelot’s greatest desire is to become a knight in the service of King Arthur. While he quickly succeeds in this, his overwhelming arrogance alienates him from the rest of the knights. At the same time, Guenevere finds herself becoming attracted to this new arrival. An attraction which quickly becomes mutual and threatens the stability of the kingdom.
Further danger arrives thanks to Arthur’s illegitimate son Mordred (Taylor Trensch). Bitter and angry at his father, Mordred is determined to destroy the King and the legacy he had hoped to create.
Camelot looks at the different sides of human nature while showing how the baser elements of humanity often impede moral progress. As continually pointed out, most people often have to be forced to accept something new, whether it is the better treatment of women, or that the coach carrying a royal bride may now stop at the top of a bottom of a hill rather than the top. Also explored is the danger of implementing change too quickly. For such upheaval may not only threaten those who would do anything to maintain the status quo, but it can also destroy closely held traditions many have lived by all their lives. Yet through it all is the message that it is possible for us to become better. Plus even if we do not achieve everything we hoped, the next generation will be able to build on what this one has begun.
Phillipa Soo, Andrew Burnap, Dakin Matthews, Jordan Donica, and company in Lincoln Center Theater's production of CAMELOT.Photo Credit: Joan Marcus.
The only real weak point is the show’s revised book by Aaron Sorkin. While Sorkin has attempted to make the original Learner text more palatable to today’s audiences, some of his efforts are rather questionable. Such as making Arthur’s longtime adviser Merlyn (Dakin Matthews) and Mordred’s mother Morgan Le Fey (Marliee Talkington) scientists instead of wizards. This removal of the magical element from the story makes the work feel a bit more pedestrian.
Andrew Burnap as Arthur in Lincoln Center Theater's production of CAMELOT. Photo Credit: Joan Marcus
Soo makes a fine Guenevere. A woman with a strong inner core who projects a sense of responsibility, passion, and a desire for a better world. Burnap works well as Arthur. A man initially unsure of himself, we see him grow into both the office and character of King during the course of the production.Donica makes a powerful as Lancelot. His first number (“C’est Moi”) drips with irony as he sings about virtue and honor, even though he falls for a married woman. His character one you initially dislike for his arrogance, yet eventually come to understand. Trensch makes a strong villain as Mordred, and Matthews is good in the comedic yet wise roles of Merlyn and Pellinore.
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Bartlett Shers’s direction makes effective use of the vast playing space, while Michael Yeargan’s set, coupled with 59 Productions’ projection work, nicely enhances the story.
Camelot is not perfect, but with a strong message, an appealing cast, and a wonderful score, it makes for quite a fulfilling experience.
Featuring: Anthony Michael Lopez (Sir Dinadan), Danny Wolohan (Sir
Lionel), Fergie Philippe (Sir Sagramore), Dakin Matthews (Merlyn, Pellinore),
Andrew Burnap (Arthur), Phillipa Soo (Guenevere), Holly Gould, James Romney
(Pages), Jordan Donica (Lancelot du Lac), Paul Whitty (Dap), Ann Sanders (Clarius),
Tesia Kwarteng (Lady Catharine).
Ensemble: Delphi Borich, Matías De La Flor, Ṣọla Fadiran, Christian Mark Gibbs, Holly Gould, Edwin Joseph, Tesia Kwarteng, Ann Sanders, Britney Nicole Simpson, Frank Viveros, Paul Whitty
Camelot
Lyrics by Alan Jay Lerner
Music by Frederick Loewe
Book by Aaron Sorkin
Based on the original book by Alan Jay Lerner
Based on "The Once and Future King" by T.H. White
Sets: Michael Yeargan
Costumes: Jennifer Moeller
Lighting: Lap Chi
Sound:
Projections: 59 Productions
Hair & Wigs: Cookie
Fight Director: B.H. Barry
Vocal & Dialect Coach: Kate Wilson
Orchestrations: Robert Russell Bennett & Philip J. Lang
Dance & Choral Arrangements; Trude Rittmann
Music Direction: Kimberly Grigsby
Choreography: Bryon Easley
Directed by: Bartlett Sher
Vivian Beaumont Theater at Lincoln Center Theater
Tickets: 212-239-6200 or www.ticketmaster.com
Information: www.camelotbway.com
Running time: 2 hours, 55 minutes, one intermission
Open run
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