CAMELOT (2023) - Reviews — Page 3

The show is a boring slog and critics rightfully pointed it out. How anyone could consider this one of their favorite scores is beyond me. It’s lobby music (or, more fittingly, “tea party music” as Green described it).

The reviews (most of them) are dead on.

Commercially, beyond a base of subscribers and a June finish, the production required reviews. This doesn't have box office stars, presuming the title as a golden age brand would entice consumers. That remains to be seen

Yet Camelot has always been a vehicle, too. The first national originally had Kathryn Grayson (replaced by Anne Jeffries by the time I saw it in DC). The same year (I was in middle school) I saw it again in stock with Howard Keel. It began with Burton and Andrews, and to my thinking needed a 2023 Burton. Elsewhere I opined that Burnap is more like the smart replacement after a name exits, and I stand by that. He's a wildly gifted actor, but this venue at this time needed star power to match the revisal.

Back in 1980, Frank Rich was much kinder to CAMELOT: tinyurl.com/mrxvez24

This made my morning

…now I need a Spamalot revival.

Kad said: "Can’t help but wonder what Tony Kushner would’ve done with this."



I wonder what Tony Kushner would do about anything and everything.

WWTKD?

How strange (to me) that this block of reviews seems to echo exactly what everyone here was saying, but the Sweeney Todd were so far away from the consensus.

Next week I'm seeing both the above shows along with Fat Ham - which also seems to be greatly varied in it's reception.

babyjunegem said: "Kad said: "Can’t help but wonder what Tony Kushner would’ve done with this."

Maybe I’m alone on this, but Kushner’s overstuffed WSS script is an apt comparison to Sorkin’s work here."

You’re definitely in the minority given the remake’s wide acclaim.

As revivals go, I’d say likelihood of winning the Tony is Into the Woods, Sweeney Todd, or Parade. In that order. Camelot would be lucky to get nominated at this point, but I’m in agreement that the nomination for Dancin’ seems more likely at this point.

Sweeney may be a box office juggernaut, and the bigger production, but Into the Woods was perhaps the most universally acclaimed production of the season, not just revival. It was at the top of too many best of lists to count and it’s on a cross country tour, delighting audiences and critics, as we speak.

dramamama611 said: "How strange (to me) that this block of reviews seems to echo exactly what everyone here was saying, but the Sweeney Todd were so far away from the consensus.

Next week I'm seeing both the above shows along with Fat Ham - which also seems to be greatly varied in it's reception."



I think the members of this board are simply far more likely to be more protective of Sweeney Todd than Camelot, leading to stronger criticism.

SisterGeorge said: "Sweeney Todd is a masterpiece which, when performed half-way decently, comes off like the best musical ever, so when it isn't, it's not surprising that people's reaction range from disappointment to anger. Camelot is pretty universally regarded as a very flawed musical. One can always hope someone can fix it, but going in you know the odds are against it. Also, it is so rarely revived, that even with all the flaws, you're kinda just happy to have finally seen it."

Well said. Expectations and preexisting perceptions are almost definitely at play in both cases.

SisterGeorge said: "Kad said: "dramamama611 said: "How strange (to me) that this block of reviews seems to echo exactly what everyone here was saying, but the Sweeney Todd were so far away from the consensus.

Next week I'm seeing both the above shows along with Fat Ham - which also seems to be greatly varied in it's reception."



I think the members of this board are simply far more likely to be more protective of Sweeney Todd than Camelot, leading to stronger criticism."

Sweeney Todd is a masterpiece which, when performed half-way decently, comes off like the best musical ever, so when it isn't, it's not surprising that people's reaction range from disappointment to anger. Camelot is pretty universally regarded as a very flawed musical. One can always hope someone can fix it, but going in you know the odds are against it. Also, it is so rarely revived, that even with all the flaws, you're kinda just happy to have finally seen it.

"


Couldn’t have said it better myself!

Announcing an extension through the summer (ending September 3rd), on the heels of these, at minimum, tepid reviews - though not entirely suprising - is certainly a choice.

https://www.broadwayworld.com/article/CAMELOT-to-Release-2023-Broadway-Cast-Recording-New-Block-of-Tickets-on-Sale-Through-Early-September-20230414

Tickets through September 3 were already on sale yesterday before the reviews came out, so the extension was happening regardless. In retrospect, though, advance ticket sales probably would have been better if they had announced ahead of the opening.