Oscar E Moore

In this impressive revival/revisal of Lerner & Loewe’s melodious and witty musical first produced in 1960, based on T.H. White’s The Once and Future King, director Bartlett Sher and Aaron Sorkin (responsible for the up-to-date new book) are the true magicians at work at the Vivian Beaumont Lincoln Center Theater.

Creating romance, intrigue, revenge – and yes – Merlyn type magic, superimposing their own impressive concept that bring the young Arthur (Andrew Burnap), Princess Guenevere (Phillipa Soo) and Sir Lancelot (Jordan Donica) right down to earth baring their most human emotions.  Truthfully.  Bringing us into the stark reality of their lives so that we truly care for them.

Well thought out.  Well-constructed.  Extremely well cast.  Beautifully staged on a stark Macbeth-like set (Michael Yeargan) that is incredibly lit by Lap Chi Chu enhancing the period costumes by Jennifer Moeller.  Everything and everyone is consistent with Bartlett Sher’s concept which, surprise to tell, absolutely works.

Focusing on character.  On what makes this young, congenial Arthur tick.  Maturing before our eyes, creating the Knights of the Round Table, dealing with his illegitimate son Mordred (a deliciously viciously evil Taylor Trensch) all the while singing some of the smartest lyrics of Alan Jay Lerner with memorable and melodic music by Frederick Loewe while a strong-willed, sarcastic and excellent chess playing Guenevere progressively falls in love with her French compatriot – possible matinee idol contender – Lancelot du Lac’s hesitant, subtle wooing.  It’s not easy being King.

Accompanied by a full pit, thirty strong orchestra that sounds terrific.  It’s been a too-long-wait since I could state that!

Dakin Matthews as a doddering and confused Pellinore provides much of the humor.  And fight director B.H. Barry has created some of the most realistic sword fights imaginable.  Breathtaking.

Romantic love.  Gained and lost.  Honesty and integrity at stake – almost lost.  But in the end there is hope.  Always hope.  For our future generations and the fate of future musicals.  Take a trip to CAMELOT.  You may learn something or have something you have forgotten about rekindled.

“Camelot.  Camelot.

I know it sounds a bit bizarre.

But in Camelot, Camelot

That’s how conditions are.”

2 hrs. 55 minutes.  One intermission.  Extended through September 3^rd.  Original cast recording soon to be available.  www.lct.org

Photos:  Joan Marcus

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