One Man's Opinion Season 2 Ep. 83: Camelot on Broadway
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- เผยแพร่เมื่อ 16 ต.ค. 2024
- Thank you for watching my review! If you're interested in seeing Camelot, visit: camelotbway.com/
PATREON: patreon.com/user?u=53728273
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CAMELOT
PRODUCTION
Lyrics by 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
Choreography by Byron Easley
Music Direction: Kimberly Grigsby
Sets by Michael Yeargan
Costumes by Jennifer Moeller
Lighting by Lap Chi Chu
Sound by Marc Salzberg & Beth Lake
Projections by 59 Productions
Hair & Wigs by Cookie Jordan
Fight Direction by B.H. Barry
Vocal & Dialect Coach: Kate Wilson
Orchestrations: Robert Russell Bennett & Philip J. Lang
Dance & Choral Arrangements: Trude Rittmann
Casting: The Telsey Office, Adam Caldwell, CSA
Consulting Producer: Cambra Overend
Production Stage Manager: Charles Means
Mindich Chair, Musical Theater Associate Producer: Ira Weitzman
General Manager: Jessica Niebanck
Production Manager: Paul Smithyman
Director of Marketing: Linda Mason Ross
General Press Agent: Juliana Hannett
CAST (in order of appearance)
Anthony Michael Lopez as Sir Dinadan
Danny Wolohan as Sir Lionel
Fergie Philippe as Sir Sagramore
Dakin Matthews as Merlyn and Pellinore
Andrew Burnap as Arthur
Phillipa Soo as Guenevere
Holly Gould and James Romney as Pages
Jordan Donica as Lancelot du Lac
Paul Whitty as Dap
Ann Sanders as Clarius
Tesia Kwarteng as Lady Catherine
Delphi Borich as Lady Sybil
Taylor Trensch as Mordred
Marilee Talkington as Morgan Le Fey
Camden McKinnon as Tom of Warwick
Ensemble: Delphi Borich, Matias de la Flor, Sola Fadiran, Christian Mark Gibbs, Holly Gould, Edwin Joseph, Tesia Kwarteng, James Romney, Ann Sanders, Britney Nicole Simpson, Frank Viveros, Paul Whitty
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I love, love, loved this version. It didn't need the magic. It's a version for this time, and this time only. As I write this, it has been closed for about a month. In another few years, a different version will pop up. It's a great tribute to the source material and the music that this show can come back over and over again and demonstrate so many angles of humanity. Like our present time, the three leads showcased their emotional frustrations. Like I said, a piece for our times. Hopefully, next time the magic can come back and the book will no longer have to be full of so much angst. Although, "Fie on goodness" will always be ... Fie!
What the hell is wrong with a musical based on the arthurian legend having magic!?!
Also, the lack of magic causes the beautiful song “follow me” to be cut. That is wrong.
I had the unfortunate experience of visiting CAMELOT recently. Like so many others, I bought my ticket as soon as they went on sale, based on the brilliant revivals that LCT has done in the past ('South Pacific,' 'The King & I,' etc.) I was so eager to see this production, and to hear the score played by a full orchestra. But the disappointment that followed was rooted in my love for the original, and the fact that I was involved in two productions of the show, back when I was in high school and again in college, so I know the original script and score very well. The orchestrations were lush, but unfortunately, they cut several numbers ('Follow Me!" being one of my favorites that was excised!) and many of the songs were shortened, with complete verses removed altogether! I rarely use the word "hate," so I'll soften my reaction by simply saying I "disliked" everything that Mr. Sorkin did to the script. Your review made adequate references to some of the more ridiculous changes Mr. Sorkin made to the script, so I won't give voice to my own. I'll simply say that one of the many, many lines from the original script that was either re-written or completely edited, had King Arthur musing: "Jenny, sometimes the best vacation spots in the world, are in the past." Sadly, this was not a memorable "vacation."
Thank you for your review of Camelot, informative and very generous of spirit, as always. I have always loved CAMELOT, and never have found the original book as "problematic" as so many others. I longed to see this production, but now probably won't. Sorkin's "revisal" has appeared to suck all the magic and enchantment out of the story that has always made it so wonderful. All the video on YT makes it look like MACBETH meets HAMLET, and yes, even PARSIFAL. I am probably in the minority here, but I also did not like how Sher et al changed the ending of MY FAIR LADY wherein Liza walked out on Henry. Yes, it duplicated the ending of Shaw's PYGMALION, but the wonderful thing about the ending of MY FAIR LADY is a sense of mutual respect and affection that Liza and Henry have for each other, if not outright romantic love. Henry has just sung, "I've grown accustomed to her face," and when he asks "where are my slippers" it seems to me more ironic than misogynistic. I love your reviews, keep it up!
In his effort to slim down, modernise and heighten the political elements of the Arthurian story, (and I've read the book, and I personally consider it... Clunky)...
Sorkin stripped the "romance" out of Chivalric romance.
I feel the same as you about this production. Instead of the mythical quality of Camelot, it often just came off as creepy. Phillipa Soo definitely was the highlight for me. Jordan Donica's u/s played Lancelot at the performance I saw. I'm not blaming Andrew Burnap, but his Arthur came off as flippant, and I tired of his one liners. I'm glad I experienced this production, but I don't need to ever see it again.
As for the Vivian Beaumont, it seems there are very few seats that could be considered bad. However, from my mezzanine perch, often times the orchestra overwhelmed the singing voice of the performers. Thank you for your review.
In the video, he says he came across a recording of the original stage musical. I don’t think so. There is no recording of the original show. I think what he saw was the recording of the 1982 revival starring Richard Harris.
That’s entirely possible. I would have been like five at the time and the timeline fits.
@@onemansopinion8135 Well you don't remember seeing Richard Burton, Julie Andrews, and Robert Goulet in it, do you? Cause they were the original cast. If you remember Richard Harris being in it, it was the 1982 revival. What is more, if you have seen an actual recording of the original show, I would like to know where you found it because that is sort of like finding the Holy Grail.
@@warblerab2955 I remember Richard Harris. Granted, I was 5 and that was 1982, so the ‘82 production makes sense as being what I saw. It was presented on Southern California public access television. So, I can’t confirm or deny anything beyond that.
@@onemansopinion8135 probably was the 1982 version.
Saw Camelot in previews and hoped they would have worked out some of the flaws in the book before opening but it sounds like they did not. Perhaps it was just the performance I attended but the orchestra almost sounded muffled, which was disappointing given the grandeur of the score. I was tempted to go to the lobby and ask someone to turn up the volume. One of the highlights (and worth seeing) is the wonderful baritone of Jordon Donica singing If Ever I Should Leave You. What they did to the character of Morgan LaFey was a total waste.
I had that same feeling about the sound of the orchestra. I went to a performance this afternoon. I would say the same applies to the sound of the singing. I mean Phillipa Soo has a lovely voice. Well, it’s not the strongest voice. So there were moments where I was hoping that the volume of the orchestra and the volume of the singing would really kind of hit my ears a little bit more… to actually hear more volume and sound pressure and to have those factors heighten the emotions.
Thanks for your review but I respectfully disagree with all of your review. I love the music of CAMELOT, and I have read the book, which I disliked very much. I understand the kind of nostalgia for it you talked about in your review, but I loved this revival because I like theater that chooses substance over spectacle. I think that Aaron Sorkin's book injected both humor and a humanist interpretation of much of the King Arthur legend, and that it consistently carried out a theme where human nature does not always steer you in the right direction. So, book-wise, I loved the show because it did what I want my musicals to do (drive home a theme without outright saying it or relying on spectacle over dialogue to convey it.)
Also, I believe the acting from two of the three leads (Andrew Burnap and Phillipa Soo) was great. Andrew Burnap managed to capture the youthful and naïve character of a young King Arthur, and he managed to convey more emotion in his scenes than any of the other performers in this current season in my opinion. Phillipa Soo also performed her part very well and, of course, has a mellifluous voice. The only criticism in their acting I found was that a romance between those two or even between Soo and Donica (Lancelot) was not as clear as it could have and should have been.
Overall, I think this is a great revival and deserves to be nominated for Best Revival. I still believe Sweeney Todd should win, but Camelot does make a strong contender. And I think Burnap and Soo should both be nominated as well.
Your comments beg the question: If your "disliked very much" the original source material (T.H. White's: THE ONCE AND FUTURE KING) why would you even want to see a musical based on it?
@@pignyc I love the music, and I like Aaron Sorkin so I wanted to see what changes he made. And I like Phillipa Soo and Andrew Burnap. There were enough positives to outweigh the one negative I had.
Let's just admit that Sorkin has imposed a stupid idea to push an agenda of his own, and not one faithful to Lerner's book or L and L's score. Another dud take to appease this sick time.
@@Ballarattrumpetguy Exactly what agenda? A humanist one?
I saw an excellent version here locally last year so this is so disappointing to hear. I'm not entirely surprised though because I wasn't a big fan of Sorkin's To Kill a Mockingbird
I have not been fortunate to have seen this version, so my comments are more of a general nature. I was shocked to hear that the magical aspect of the musical was completely taken out. Part of the lure of Camelot, for me, has always been the hopeful nature of the story, even though it ends on a bit of a downer. Still, I don't mind updating a story if it doesn't go too far. But can you imagine turning Brigadoon into a village in Idaho? No magic. Just another town in the country? The magic of stories like Brigadoon is essential to their message of hope. But.. this is just my humble opinion. Dropping, or cutting verses of songs are definite turnoffs to me. I think I will pass on getting the cast album.
wonder if CAMELOT will even be nominated in the musical revival. category???????/
just not many revivals to select from.....maybe just eliminate. the category this year....???????
looking forward now to your review of NewYork/NewYork
I think either Sweeney Todd or Parade will win best revival. I'm sure Camelot will get nominated but I don't think it has a chance of winning.
There are enough revivals to warrant the category when considering Bob Fosse’s Dancin’ can be in the mix, but I think the only two worth consideration for a win are Sweeney and Parade, and I’d think Parade should win.
@@onemansopinion8135 I agree Parade should win. I had tickets to see it in March, but my performance got canceled. I hope to see it before the end of its run. I saw Sweeney last month and enjoyed it enough, but wasn't blown away.
The eligible Revival productions include 1776 (not that that will warrant consideration)
Bob Fosse’s Dancin’
Camelot
Into the Woods
Parade
Sweeney Todd
More than enough eligible productions and even enough to all for 4 nominated productions
This new adaptation should be retitled CAMELOGICAL. It bends itself into a pretzel trying justify human foibles. Dark, boring, without romance and magic.