Camelot – What’s Left of It
Should Bartlett Sher ever helm a revival of Alan Jay Lerner/Frederick Loewe’s Brigadoon – in which a Scottish village appears once every hundred years – I wouldn’t be surprised if he erased enchantment with a populous under collective delusion, perhaps there’s something in the water. The two Americans who stumble on it – one falling in love – would morph into psychiatrists on vacation. Its imposed moral quandary could conceivably be exposure in order to further a career. It’s not implausible.
Andrew Burnap (King Arthur) and company
Camelot’s original book had problems, but gutting its heart and soul – magic and romance – leaves us with: young Arthur acquiring Excalibur because “thousands” of others had loosened the sword; several reminders that dragons are fictional i.e. people are gullible; and, Merlin is just a teacher, as well as making moot the question of whether a knight (here Arthur) is brought back to life by Lancelot. When the court falls to its knees under these circumstances, one wonders why. “I was just unconscious!” Arthur keeps telling everyone. It changes the usually haunting title song, according to Guenevere, “that stupid song about the weather,” into a well spun advertisement with about the same appeal.
This version strips the king of confidence to balance his insecurity, making him something of a sweet wuss instead of a man with vision who’s also strong enough to bear betrayal by the two people he most loves. (Andrew Burnap plays the new interpretation well.) It gives Guenevere (Phillipa Soo who exhibits not a single deep feeling and has a small, if pretty, voice) credit for Arthur’s idealism and innovation. She shows next to no regard or love for her husband, and barely any for Lancelot, eviscerating the show’s heart wrenching choices. Guenevere lands in bed with the Frenchman as a result of a regrettable fit of jealousy, not passion. A little cutsie back kick she repeats looks distinctly flora-dora girl.
Phillipa Soo (Queen Guenevere)
Writer Aaron Sorkin, of whom I’m otherwise an ardent fan, couldn’t be more wrongheaded as encouraged by Sher. The show’s dialogue is often unrelated to songs making trajectory jerky. Instead of trying to distract themselves from the seriousness of their situation, Guevevere and Arthur sing “What Do the Simple Folk Do?” after the line, “We’re more than king and queen, we’re friends.” Byron Easley’s choreography for the song covers territory, but is decidedly un-dance like. While he creates an appealing May Day pole, the rest of that number looks regimented, rather than exuberant.
Scientific predictions (Morgan Le Fey is now a scientist, not a witch) and pointed references to political power in an obvious attempt to parallel contemporary issues, fall flat. Even bigotry is squeezed in with knights complaining about Arthur’s unwanted move towards equality eliciting the comment, “the same problem pharaoh had with the slaves, there are more of them than us.”
Jordan Donica (Sir Lancelot du Lac)
I was fascinated that Sorkin felt it apt to have the new bride inquire after her husband’s courtesans, like the ones her father kept. Is this further indication of the couple’s lack of intimacy or of a woman’s exercising choice (where she would’ve had none?). Then there’s the level of modern humor. At the top of the show with Guenevere expected, Arthur is missing. It seems he went pheasant hunting. “At night?” a knight exclaims. “It’s safer for the pheasants,” Merlin replies, straight-faced.
By the end of the play when Arthur and Guevevere declare their love, we don’t believe it. Nor do either she or Lancelot seem torn. We do finally see the king suffer. Interaction with 12 year-old stowaway Tom (Camden McKinnon) who’s come to fight, but is instead commanded to carry Camelot’s legacy, should leave the audience in tears. It does not.
Jordan Donica (Lancelot) and Andrew Burnap (King Arthur)
One wonders where the design budget went. In The King and I, an enormous ship, utilized for a single song, left no money to decorate the King of Siam’s palace. My Fair Lady’s revolving house relegated every other set piece to cardboard. Perhaps 59Productions projections cost so much that scenic designer Michael Yeargan could only put up a couple of lone trees and some decorative wrought iron walls. The look of this formerly vibrant, picturesque musical is bland. Entering, you might think the stage is a set for Waiting for Godot.
“The Simple Joys of Maidenhood,” performed by Guenevere dressed as a man sitting spread-legged on a bench and wielding a knife, is completely unbelievable. Costume designer Jennifer Moeller’s ertsatz armor is attractive and evocative, but she creates other men’s apparel referencing the 19th century. Ladies wear low cut gowns. Diaphanous May Day dresses are not only completely incorrect (it’s eminently possible to meet this half way), but cheap looking as are most of the men’s thin, polyester capes.
Andrew Burnap (King Arthur)
The rich sounding full orchestra is lovely. Orchestrations – Robert Russell Bennett and Philip J. Lang, music direction – Kimberly Grigsby. Sound by Marc Salzberg and Beth Lake.
Fight director B.H. Barry oddly makes two of the three sword fights look ridiculous, while that of Lancelot and the King rivets. We can’t, however, tell if Arthur’s been pierced or struck. (It’s the latter.)
Jordan Donica (Lancelot) has a resonant voice, some of the best songs, and stern commitment to his character, but no chemistry with Soo. That he barely looks at her is carried too far by the director. His French is a work in progress. Donica cuts a romantic figure with little opportunity to play it.
Briefly as Merlin and then Pellinore, Dakin Matthews lends tenderness, gravity and finesse to the production. I wish the excellent Marilee Talkington (Morgan Le Fey) better luck with her next casting. Taylor Trensch’s Mordred seems like an irritating child instead of the evil instigator of Camelot’s fall.
As to Bartlett Sher, above objections say it all. The director moves his cast well and the show is skillfully paced.
Photos by Joan Marcus
Camelot
Lyrics- Alan Jay Lerner; Music- 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
Directed by Bartlett Sher
Lincoln Center Theater at The Vivian Beaumont
150 West 65th Street
