I was so excited to hear that Lincoln Center was presenting Lerner & Loewe’s “Camelot.” This is a musical and story I have cherished and enjoyed for decades. However, this new take on the classic story, with a book by Aaron Sorkin based on the original book by Alan Jay Lerner, was a take that focused more on humor than on the audio quality of the production.
My seat was close to the stage, but I could barely hear the performers, who were at times drowned out by the orchestra. This was not fair to the great work of Lerner, who wrote the lyrics for the songs and music of Frederick Loewe. When I go to a musical, especially one where I know the songs very well, I am going there to hear the performers showcase their vocal gifts. I’m not used to being at a performance, especially at Lincoln Center, where it is difficult for me to hear the performers on stage. I kept thinking: If I can barely hear them, what about the people behind me and upstairs?
One of the things that always attracted me to this musical was the beautiful, passionate, innocent, sudden, and forbidden love that Lancelot du Lac developed for Queen Guinevere, and which she returned. However, this version seems to lack passionate moments where they declare and demonstrate their love. In fact, it is stated that he has been around her for only one day per month for a year, and she has treated him cruelly to try to persuade him to leave, so when Lancelot sings, “If Ever I Would Leave You,” there is not a lot that he is really giving up, except to be in her presence. While he has not had any type of relationship with her, Lancelot (brilliantly played by Jordan Donica, who many may know as the first Black performer to play Raoul in “Phantom of the Opera” on Broadway) delivers this song with passion—to a point.
After seeing him in “Phantom,” I know very well the range of his voice, but he doesn’t get to use his full instrument here. While his delivery was beautiful, it could have been better if he was able to be louder.
If you are like me, you truly expect to enjoy marvelous, audible singing when you go to see a Broadway musical and this “Camelot” simply doesn’t have that. “Camelot” needs the company’s voices to soar!
The other two leads in the musical are Andrew Burnap as Arthur and Phillipa Soo as Guinevere, along with supporting cast members Dakin Matthews as Merlyn/Pellimore, Taylor Trensch as Mordred, Marilee Talkington as Morgan, Anthony Michael Lopez as Sir Dinadan, Danny Wolohan as Sir Lionel, and Fergie Philippe as Sir Sagramore.
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The music is beautiful and I know it well, but again, the most important aspect of enjoying a musical is the glorious, harmonious, clearly discernible, and powerful singing of a gifted cast. While there were some enjoyable moments, I need the performers to be loud and proud, and belt out those songs in a way that does them—both the performers and the songs—the greatest justice.
“Camelot” has direction by Bartlett Sher and is playing at Lincoln Center Vivian Beaumont Theater (150 W 65th Street).
“Camelot” has a technical team that includes sets by Michael Yeargan; costumes by Jennifer Moeller; lighting by Lap Chi Chu; sound by Marc Salzberg and Beth Lake; hair and wigs by Cookie Jordan; music direction by Kimberly Grigsby; original orchestrations by Robert Russell Bennett and Philip J. Lang; original dance and choral arrangements by Trude Rittman.
For more information and for tickets, visit www.lct.org/shows/camelot.