I'm still grappling with my thoughts on this one.
The good:
The orchestra sounds wonderful. Those sitting close can feel the floor reverberating beneath you from the orchestra. Can't remember the last time a Broadway pit had 2 bass players.
The cast is excellent. Phillipa's voice doesn't ring as much as others I've seen as Guenevere, but she's just so winning and giving a nuanced acting performance that it doesn't matter. I wasn't sure about Andrew Burnap in act 1, but in act 2 you really see his growth into an adult king, and I found his work very effective. Donica sounds wonderful. Taylor Trensch is having fun.
The set design illustrates the vast loneliness of the castle. Gorgeous lighting and costumes. No sound issues. 59 Productions (projection design) is the best in the biz.
I don't mind the lack of accents. If done effectively, I suppose that could illustrate the "otherness" of both those characters, but French accents can be so bad onstage that this choice worked for me. Did Goulet and Andrews both use French accents in the original?
The other stuff:
I'm often a Sorkin and Sher fan, but both are pulling from their bag of tricks and I'm tired of it. Sorkin's anachronisms and constant banter register as annoyingly cute in this context. There are inherent problems with trying to adapt a book like this, and in some ways it heightens the limitations of the source material in trying to shoehorn in the songs. We barely get an intro to Merlyn, and then he's dead but looms large in Arthur's mind; you get act 1's only two uptempo songs directly next to each other (May and Fair); the jumps in time can be episodic and chaotic; act 2 is overstuffed and has to move sooo briskly through the Mordred/Morgan/affair plots; Morgan is an interesting idea but not 100% successfully executed. About halfway through, I started daydreaming about what someone like Peter Morgan or David Hare or Tony Kushner or Yorgos Lanthimos might have done with CAMELOT instead of Sorkin.
The scenic transitions are clumsy. Changing the direction of the thrones at the end of act 1 just...because? This is a revival that could have benefited from an out-of-town tryout.
Sher once seemed like such a confident & singular theatre artist, and 2017/18 something shifted with him and it seems like he's questioning and second-guessing his artistry, what the audiences will like, and what he "should" be doing. Artistic evolution is vital of course, but it doesn't seem like such a natural journey for him. There are enough interesting things here to keep me engaged, but the one-two punch of Pictures From Home and now this make me worried about his future output as a director.
In terms of the show's view of race, I almost wonder if it would have been better off with an actor of color as Arthur, and a white "himbo" as Lance. It feels like that's what Sorkin & Sher want Lance to be, but he's not being played as such.
Maybe this CAMELOT would have been better if Sorkin wrote a nonmusical play about King Arthur for Sher to direct, instead of this Frankensteined piece that doesn't know if it should be a play or a musical, or a comedy or drama or tragedy. It wants to be too many things, and just kind of ends up being nothing. I'm interested in seeing it again in a month or two to see how my feelings evolve.
Updated On: 4/6/23 at 01:06 PM