Susan Granger’s review of “Camelot” (Vivian Beaumont Theater/Lincoln Center)
We all bring preconceived concepts when we go to theater. With “Camelot,” I have many. The source material – T.H. White’s “Once and Future King,” detailing the Arthurian legend, is my favorite book – and I was dazzled by Lerner & Loewe’s 1960 Broadway show with Richard Burton, Julie Andrews and Robert Goulet. I can even remember how Jacqueline Kennedy associated it with her late husband’s brief tenure as President of the United States. Just the name “Camelot” strikes a deep resonance inside me.
So while I was eager to see the new version of “Camelot” at Lincoln Center, I was curious about Aaron Sorkin’s revision of Alan Jay Lerner’s libretto and Bartlett Sher’s casting. The first I found provocative, the second disconcerting.
Best known for TV’s popular “West Wing,” Oscar-and-Emmy-winning Aaron Sorkin is a master wordsmith; he’s updated T.H. White’s romantic fantasy to a more idealistically political concept, no longer filled with sorcery and spells. After all, the reason France’s Princess Guenevere (Phillipa Soo) married England’s King Arthur (Andrew Burnap) was to broker a treaty between their nations.
While their union brings peace and prosperity, along with a new concept of equality and fairness, at no time does insecure, aloof Arthur express any modicum of affection for Guenevere. Instead, he calls her his “business partner.” Indeed, he seems far too boyish, awkward and sexless to cope with her snarky sophistication – which makes one wonder if their union was ever consummated.
So when uber-manly, vainglorious Lancelot du Lac (Jordan Donica) arrives in court, it seems only natural for Genevere to be attracted to him. Sorkin hints that her adultery isn’t as much a betrayal as a desperate plea for physical affection. Of course, that’s not the way it’s reported by malevolent Mordred (Taylor Trensch), Arthur’s illegitimate son from a one-night stand with cynical, conniving Morgan La Fey (Marilee Talkington).
In 2019, Bartlett Sher staged a Lincoln Center concert version of “Camelot” with Lin-Manuel Miranda playing Arthur; too bad he could not repeat that aspirational casting. Eliminating the magic was one thing but not to offer exciting/enticing casting in its place is a major mistake.
Scenic designer Michael Yeargen disappoints by never showing an actual ‘Round Table’ on his overly-spare set but Jennifer Moeller’s medieval costumes are quite sumptuous and kudos to B.H. Barry’s rousing swordfight.
Fortunately Frederick Loewe’s original score remains intact – except “I Loved You Once In Silence” is sung before, not after they made love, which doesn’t make sense. But Robert Russell Bennett & Philip J. Lang’s orchestrations are well served by Music Director Kimberly Grigsby’s 30-piece orchestra.
Performing Tuesday through Sunday at Lincoln Center’s Vivian Beaumont Theater, “Camelot” runs approximately 2 hours, 55 minutes with one intermission.