CAMELOT 2023 Broadway Cast Recording Thread

[jacobsnchz14]

Posted: 4/14/23 at 1:17pm

https://twitter.com/BwayRecords/status/1646923825936752650?s=20

NOW AVAILABLE FOR PRE-ORDER

The beloved original score (lyrics by Alan Jay Lerner and music by Frederick Loewe) features such iconic songs as “If Ever I Would Leave You,” “The Lusty Month of May” and the title song “Camelot.”  Based on “The Once and Future King” by T.H. White, CAMELOT, Lerner and Loewe’s 1960 follow up to My Fair Lady, is a story about the quest for democracy, the striving for justice, and the tragic struggles between passion and aspiration, between lovers and kingdoms. This epic and timely tale features the iconic characters King Arthur, Queen Guenevere, and Sir Lancelot. Music Director Kimberly Grigsby conducts a 30-piece orchestra performing CAMELOT’s original orchestrations by Robert Russell Bennett and Philip J. Lang and original dance and choral arrangements by Trude Rittmann. The 2023 Broadway Cast Recording is produced by David Caddick and David Lai.

Under the direction of Tony Award winner Bartlett Sher and a book by Academy and Emmy Award winning writer Aaron Sorkin, based on the original book by Alan Jay Lerner, Lerner & Loewe’s CAMELOT features a cast of 27, headed by Andrew Burnap (as Arthur), Phillipa Soo (as Guenevere), Jordan Donica (as Lancelot Du Lac), Dakin Matthews (as Merlyn/Pellinore), Taylor Trensch (as Mordred), Marilee Talkington (as Morgan Le Fey), Camden McKinnon (as Tom of Warwick) Anthony Michael Lopez (as Sir Dinadan), Fergie Philippe (as Sir Sagramore), and Danny Wolohan (as Sir Lionel).  The production’s ensemble includes Delphi Borich, Matías De La Flor, la Fadiran, Rachel Fairbanks, Nkrumah Gatling, Christian Mark Gibbs, Holly Gould, Monte Greene, Edwin Joseph, Tesia Kwarteng, James Romney, Ann Sanders, Britney Nicole Simpson, Philip Stoddard, Valerie Torres-Rosario, Frank Viveros, and Paul Whitty.

Lerner and Loewe’s CAMELOT features choreography by Byron Easley and will have sets by Michael Yeargan; costumes by Jennifer Moeller; lighting by Lap Chi Chu; sound by Marc Salzberg and Beth Lake; projections by 59 Productions; Hair & Wigs by Cookie Jordan; Fight Direction by B.H. Barry; Vocal & Dialect coaching by Kate Wilson; casting by The Telsey Office, Adam Caldwell, CSA; Cambra Overend is Consulting Producer. Charles Means is the Production Stage Manager.

Physical Release Date: June 30, 2023
Digital Release Date: June 2, 2023

Updated On: 4/14/23 at 01:17 PM

[DCS]

Posted: 4/14/23 at 1:20pm

Glad to see this is coming.  Despite the problems with the show's book, the score will sound wonderful with these performers and the large orchestra

[CATSNYrevival]

Posted: 4/14/23 at 2:58pm

I hope they include the Lusty Month of May dance music. Is it too much to ask for a bonus track of Soo singing I Loved You Once in Silence?

[CATSNYrevival]

Posted: 5/26/23 at 7:59pm

https://www.youtube.com/watch?v=MRyTh8sKPCY

https://www.youtube.com/watch?v=KJ91YrgI7tE

[EDSOSLO858]

Posted: 6/1/23 at 9:54am

Per King Arthur’s decree, digital release is tomorrow.

Track listing:

• ACT I
• 1. Overture
• 2. I Wonder What the King is Doing Tonight
• 3. The Simple Joys of Maidenhood
• 4. Camelot
• 5. Camelot (Reprise)
• 6. C’est Moi
• 7. The Lusty Month of May
• 8. Take Me to the Fair
• 9. How to Handle a Woman
• 10. Before I Gaze At You Again
• 11. Finale Act One

 

• ACT II
• 12. Entr’acte / Madrigal
• 13. If Ever I Would Leave You
• 14. The Seven Deadly Virtues
• 15. What Do the Simple Folk Do?
• 16. Fie on Goodness
• 17. I Loved You Once in Silence
• 18. Guenevere
• 19. Finale Ultimo

[Dylan Smith4]

Posted: 6/1/23 at 10:10am

Phillipa's Guenivere is a wonderful performance! She brings her own version to the role and it's simply beautiful! I'm glad more people will get to hear her sing these iconic Lerner & Lowe songs! 

[CATSNYrevival]

Posted: 6/1/23 at 10:23am

I’m happy to see that they recorded the act one finale and the Entr’acte! I’m also surprised to see that track 5 Camelot reprise. I thought I read someone on here say the new book cut all of the reprises.

[EDSOSLO858]

Posted: 6/2/23 at 12:00am

Just dropped! What do we think?

[CATSNYrevival]

Posted: 6/2/23 at 1:05am

The lusty month of June? Camelot is one of my all time favorite scores, so it’s not surprising that the album is still enjoyable to me even though the production itself was not well received by the critics. I suspect the album will play better for most than the production itself does in the theatre. The score has never been a problem and I generally adore the original book as well, so I’ve never really understood the criticism of the book either.

Obviously there isn’t much of the book preserved on the album but the few passages that are recorded, notably the act one and act two finales are largely paraphrased excerpts of Alan Jay Lerner’s original book. Based on that I’m not sure how much of the book by Aaron Sorkin is really new. I was looking forward to hearing what Sorkin would do with Arthur’s act one finale monologue but that’s largely Lerner save for the final line where Sorkin references god first and ends the act asking Guenevere to “be smart.” I’m not very religious but I think “may god have mercy on us all” is a stronger ending to act one and I’d be curious to know more about his intent with that change or if it makes more sense in context when seeing the show vs just listening to the album. With the removal of magic does the new book also downplay religion? That would explain the change.  

The orchestra sounds crisp and clear. I appreciate that the original orchestrations have largely been preserved for this new recording even though there are a few changes. I knew “Follow Me” would not be included and I’m not missing it as much as I thought I would. I am curious to know what happens to Merlyn in the show if he is no longer led away by Nimue. Phillipa Soo continues to impress and I’m especially glad “Take Me to the Fair” is included as it is sometimes cut and it’s one of my favorite songs. Andrew Burnap sounds charming and brings a welcomed youthful energy to Arthur. “How to Handle a Woman” is abbreviated. I assume the opening part was cut because the magic is not part of this production and Merlyn no longer turns Arthur into animals, but the song is trimmed even further by not repeating the chorus at the end. It’s not a huge loss to repeat the part of the song we just heard, but I do love the version of the song on the original Broadway cast recording. Jordan Donica gets the best material and his performance is probably the closest I’ve heard on record to equate the heart melting serenade originally delivered so well by Robert Goulet. Donica now sings “I Loved You Once in Silence” in this production and it doesn’t disappoint but it does give Soo less to sing in act two. Taylor Trensch is also gleefully menacing on “Seven Deadly Virtues.” I wish Mordred and Morgan Le Fay had more of a presence on the album. I’m very curious to eventually see what Sorkin did with Morgan Le Fay.

Overall, if you like Camelot there’s a lot to enjoy here. The changes, at least on the album itself, are probably not significant enough to be of bother to purists, and the vocal performances along with the original orchestrations are worth a listen.

[Dylan Smith4]

Posted: 6/2/23 at 8:20am

Oh my this recording is beautiful! The orchestrations are just phenomenal! As always, Phillipa Soo NEVER DISAPPOINTS! Her voice is so smooth and clear! I’m glad I finally can hear Jordan Donica’s Lancelot as he was out when I saw the show. His voice is also simply gorgeous! I’m very impressed with this album! 

[Dollypop]

Posted: 6/2/23 at 11:54am

Does anyone know if CD signings are planned for this recording?

[spicemonkey]

Posted: 6/2/23 at 12:17pm

Will there be a vinyl release?

[Rentaholic2]

Posted: 6/2/23 at 12:40pm

The recording is great - I just can't get into this score, though, no matter how much I try.  The world seems to have willed it into "classic" status, and I just don't get it.  It feels like gaslighting. 

[Dollypop]

Posted: 6/2/23 at 1:36pm

Rentaholic2 said: "The recording is great - I just can't get into this score, though, no matter how much I try. The world seems to have willed it into "classic" status, and I just don't get it. It feels like gaslighting."

This may be a generational thing. Your generation seems to favor scores that are closer to pop or rock. We old geezers like scores like this one. How do you feel about MAN OF LA MANCHA?

[Rentaholic2]

Posted: 6/2/23 at 1:54pm

Dollypop said: "Rentaholic2 said: "The recording is great - I just can't get into this score, though, no matter how much I try. The world seems to have willed it into "classic" status, and I just don't get it. It feels like gaslighting."

This may be a generational thing. Your generation seems to favor scores that are closer to pop or rock. We old geezers like scores like this one. How do you feel about MAN OF LA MANCHA?"

What generation do you think I am, out of curiosity?  (you're probably right)

I actually adore scores that are like this one - My Fair Lady, R&H, and even more obscure stuff that is similar in style. I just don't think the quality of this particular score puts it in the "classic" camp, other than a couple of songs ("Guenevere" is a standout for me).  But since you mentioned Man of La Mancha, I do feel the same way about that score, so maybe you're on to something!

[Dollypop]

Posted: 6/2/23 at 2:34pm

Rentaholic2 said: "Dollypop said: "Rentaholic2 said: "The recording is great - I just can't get into this score, though, no matter how much I try. The world seems to have willed it into "classic" status, and I just don't get it. It feels like gaslighting."

This may be a generational thing. Your generation seems to favor scores that are closer to pop or rock. We old geezers like scores like this one. How do you feel about MAN OF LA MANCHA?"

What generation do you think I am, out of curiosity? (you're probably right)

I actuallyadorescores that arelikethis one - My Fair Lady, R&H, and even more obscure stuff that is similar in style. I just don't think the quality of this particular score puts it in the "classic" camp, other than a couple of songs ("Guenevere" is a standout for me). But since you mentioned Man of La Mancha, I do feel the same way about that score, so maybe you're on to something!"

 

Well your screen indicates a younger person. 

I am considerably older and found it almost impossible to sit through WICKED but that was mostly because of the volume.(I now carry concert earplugs when I go to the theater).

 

[MrsSallyAdams]

Posted: 6/2/23 at 4:17pm

The 2023 cast album is now available on streaming. I'd heard that "Fie on Goodness" had been re-arranged to intercut with a Morgan LaFey scene. There's no indication of that on the album. The arrangement sounds the same as the 1960, give or take some tempo changes. I think Taylor Trensch's Mordred is in the mix though I can't tell for certain on a first listen. I couldn't hear Roddy Macdowell on the 1960 version.

The Guenevere number includes a great deal of Sorkin's dialogue. Burnap sounds like a madman here, which is an interesting direction to take Arthur's arc. Though I'm sad to lose Lerner's "Merlin! Make me a Hawk!" and "Your table is cracking! Can you hear the timber split?"

Tom, the boy, in the final track is pitchy. Here they keep Sorkin's poetic final lines. Though Burnap seems uncomfortable with them. 

[CATSNYrevival]

Posted: 6/2/23 at 4:27pm

MrsSallyAdams said: "Tom, the boy, in the final track is pitchy."

I believe that’s intentional. I think it’s supposed to be funny but it doesn’t work on the album.

[EDSOSLO858]

Posted: 6/2/23 at 6:25pm

This is a pleasantly adequate new recording of a long-cherished score for many. 

The 30-piece orchestra sounds gorgeous all throughout — I believe this is the largest orchestra right now on Broadway, with Phantom now closed? Correct me if I'm wrong.

Jordan Donica stands out as well, and it seems like that first career Tony nomination was well-earned. "If Ever I Would Leave You" is one of the highlights of this album.

I hear what some people were talking about in the previews thread regarding Soo's restraint, but I don't think it detracts from her performance at all.

Beautifully done cast recording.

Updated On: 6/2/23 at 06:25 PM

[CATSNYrevival]

Posted: 6/2/23 at 7:59pm

MrsSallyAdams said: "I'd heard that "Fie on Goodness" had been re-arranged to intercut with a Morgan La Fey scene. There's no indication of that on the album. The arrangement sounds the same as the 1960, give or take some tempo changes. I think Taylor Trensch's Mordred is in the mix though I can't tell for certain on a first listen."

I would have loved a short Morgan La Fey scene during "Fie on Goodness" if it's true there is one in the show. I would have liked something from her character on the album. I'm pretty sure Trensch is singing a few lines in the song it's just not always the same lines Mordred sings in the original libretto/score.

[Dollypop]

Posted: 6/2/23 at 8:10pm

Yes, Donica is a highlight of the show. 

I've mentioned before that I've done two productions of the show 'way back when and in the first production Lancelot was played by a Cuban with a thick accent and a beer belly. It was one thing to see him standing on stage in tights and another to hear him talking about "Yenny from Yoyous Gard". His singing was fine, though, if you could deal with "Heef Hever I Would Liff Joo"

In the second production, 10 years later, Brian Dennehy was Arthur and Lancelot was played by a guy who was trim and good-looking enough but was pretty effeminate. Add to that he wasn't a very good singer and wasn't up to the demands of "If Ever I Would Leave You". His rendition of the song was painful to listen to.

Fortunately, Donica is perfect for the role in every way.

 

 

[CATSNYrevival]

Posted: 6/3/23 at 12:31pm

Dollypop said: "Yes, Donica is a highlight of the show."

Jordan Donica is definitely a highlight of the album as well. I'm curious what everyone thinks of Lancelot singing "I Loved You Once in Silence."

I'm also enjoying the passages of dialogue that are obviously Sorkin like the bit about the title song being a metaphor, although I wonder how necessary that addition was. It's amusing for sure, but I think it was always a metaphor and Lerner didn't feel the need to point that out and Sorkin did.

There's also Pellinore's line in "Guenevere" where he says "I'm an old man and I know I'm ridiculous" which sounds very expositional. I feel like we should be well aware that Pellinore is old and ridiculous that late into act two. I don't understand why he added that.

[Dollypop]

Posted: 6/3/23 at 2:49pm

I want to say right here and now that Robert Goulet's voice was an absolute wonder and I've been listening to his rendition of "If Ever I Would Leave You" as well as Donica's. Both are marvelous but Goulet ends the number with full spinto singing while Donica chooses to float his final notes.

I never saw Goulet in the role but I did see him in THE HAPPY TIME and LA CAGE AUX FOLLES as well as in several shows at the old Westbury Music Fair. Incredible voice and dazzling stage presence. He left us much too soon

 

[Auggie27]

Posted: 6/4/23 at 1:45pm

Trying to respond as favourably as everyone else here. The orchestra seems the true event. I’m a fan of Burnap’s but find his glibness and (directed) air quotes around some of the lyrics in the early numbers less than effective, though he makes “How to Handle a Woman” emotionally persuasive and lovely. Still, the act closer has the weight of a table read: intelligent take yet not fully lived in. Sometimes, other than Donica’s solos, I feel like I’m listening to the soundtrack of an animated Camelot. It has an overarching lightness that bespeaks Disney slash Pixar. Perhaps the trade off is the youthfulness. But “Fie On Goodness” conjured “Kill the Beast,” at least until the end.

Updated On: 6/4/23 at 01:45 PM

[The8re phan]

Posted: 6/5/23 at 8:48pm

I know i'm definitely in the minority here, but i truly adore everything about this production, especially this new recording. I bought the cd immediately when the theater opened Friday night -- my third viewing of this production -- and have been listening to it non-stop since curtain came down.  The orchestra is lush, i'm happy they included bits of the new book, and the cast is brilliant....... including Burnap, IMO.  

It's certainly making me want 4th visit before Sept 3rd

Updated On: 6/5/23 at 08:48 PM