“Camelot” is abruptly leaving the Lincoln Center stage on July 23, 2023. Due to poor box office sales, the show’s original Sept. 3 end date has moved up. Original lyricist Alan Jay Lerner encapsulated the show’s current difficulties during the 1960 production. As medics wheeled him into the hospital during the show’s original run, Lerner declared, “This isn’t a musical, this is a medical.”
Writer Aaron Sorkin and director Bartlett Sher reworked Alan Jay Lerner and Frederick Loewe’s 1960 musical “Camelot” for the Vivian Beaumont Theater in New York City. Starring Andrew Burnap as King Arthur, Philippa Soo as Guinevere and Jordan Donica as Sir Lancelot, the show features music that is beyond reproach. Broadway critics both old and new praise the music and lyrics’ powerful ability to captivate an audience, but they fault the show’s script for its poor plotting. Therefore, while maintaining all its original songs, Aaron Sorkin sought to fix the show’s structural problems — with varying levels of success.
Music
Great musical performances abound in “Camelot,” which superbly matches songs with singers (the 2023 cast album is available here). Andrew Burnap endearingly performs the title track, which signals the hope of King Arthur’s great project with its famous ascending arpeggio. “The Lusty Month of May,” performed by Philippa Soo, is a jaunty dance that exudes frivolity with its playful lyrics. Soo’s soprano voice beautifully captures the innocence of Guinevere’s character without relying on the lyrics. Her more serious love song, “Before I Gaze at You Again,” demonstrates that her voice can convey a darker and more brooding tone.
Jordan Donica enchantingly sings this musical’s most popular song, a love ballad titled “If Ever I Would Leave You.” His baritone voice exudes deep emotion to complement the ballad’s lyrics about complete romantic devotion. The cold romantic tension in Soo and Burnap’s performance of “What Do The Simple Folk Do?” adds complexity to their duet. The dissatisfied knights who perform “Fie on Goodness” form a powerful and violent chorus that elicits goosebumps.
The strength of “Camelot” lies in its music’s exploration of emotion through different characters and smart Broadway lyrics that ensure each distinct song excels.
Performance
The wide-open stage at the Vivian Beaumont Theater allowed director Bartlett Sher to expand the choreography and staging of “Camelot.” The result is a feast for the eyes. Actors frequently circle and pace the stage to match the dynamic movement of Aaron Sorkin’s fast-paced dialogue. The Gothic arches that loom over the stage heighten the musical’s tragedy. The set pieces, from a chess board to a maypole, enhance the actor’s performances.
A glint remains in Andrew Burnap’s eyes that perfectly captures the hope of King Arthur’s noble aims. Philippa Soo’s Guinevere ranges from careless maiden to calculating lawmaker to doomed lover; her countless costume changes throughout the show capture the dynamism of her character. Jordan Donica maintains the confidence required to play the legendary Sir Lancelot. And Dakin Matthews, who performs the supporting roles of Merlin and Pellinore, remains enthralling in his portrayal of these two elderly figures.
In both acting and directing, this musical is almost flawless; the actors give their all to humanize their mythical characters.
Plot
Based on the fantasy novel “The Once and Future King” by T.H. White, “Camelot” has experienced difficulty translating the magical elements of its original source to the Broadway stage (the 1960 production certainly could not do it). So, for the 2023 revival, Aaron Sorkin eliminates all magic from the story. Merlin the wizard becomes Merlin the sage, and King Arthur removes the sword in the stone only because 9,999 people before him loosened it.
The plot still centers around the love triangle between King Arthur, Guinevere and Sir Lancelot. In this rendition, however, Sorkin sets the musical in an indeterminable period just before the Enlightenment rather than in its traditional setting, the Middle Ages. This ambiguity allows Sorkin to reference prolific writers from various time periods, such as Voltaire and François Villon. However, Sorkin’s references come at the expense of the plot’s logical unity. When the Arthurian legend loses both its magic and its time period, it is difficult to maintain interest in the traditional love triangle plot, which is central to the story.
Even though his plot falls flat, Sorkin never fails to write good dialogue. The back-and-forth dialogue between Arthur and Guinevere, which is reminiscent of Sorkin’s writing for Josh and Donna on “The West Wing,” is some of his best work. Sorkin expands Guinevere’s role in the 2023 production, as she is now a back-talking wife who takes agency in her husband’s politics and writes many of his laws herself. The pair’s conversation regarding what Merlin thought about Arthur illustrates her newfound snark:
Arthur: He would say, “My God, you’re the slowest student I’ve ever tried to teach.”
Guinevere: I can convincingly say that.
Sorkin also writes strong dialogue for scientist Morgan Le Fay, played by Marilee Talkington. One of Le Fay’s lines even garnered an ovation from the crowd: “You’d be amazed at who people will follow.” A powerful exchange between Le Fay and Arthur provides further proof of Sorkin’s ability:
Morgan: Human nature responds to —
Arthur: Inspiration.
Morgan: Fear, and that’s it.
With straight-forward language, Sorkin examines complex philosophical ideas with ease.
Sorkin also shifts the plot’s focus from warring factions within the kingdom to warring states. France and England, even when at peace, remain distrustful of each other. The script therefore emphasizes and makes fun of Guinevere and Lancelot’s French backgrounds. Sorkin tries to make King Arthur’s democratic ideals more contemporary through England’s conflict with France; however, the shift feels jarring given that the plot remains framed around warring factions. A convincing transition from personal to global conflict requires greater edits to the plot, which would contradict the Arthurian legend.
The three leads’ strong acting performances are not enough to overcome the plot’s overall deficiencies. However, the production is still enjoyable to watch due to its entertaining music and fantastic actors. The dialogue also remains interesting enough to carry “Camelot” to its conclusion. Without a doubt, this enchanting musical will stick in audiences’ minds for more than one brief shining moment.
“Camelot” will end its Broadway run on July 23, 2023. Tickets are on sale here.
I’ve heard many a critic on this musical, even though the critics on this article are very understandable, I was lucky enough to see Camelot twice before it closed and it’s stayed in my mind ever since. The realer, fleshed out characters really resonated with me. I understand why people didn’t enjoy it as much, but for me, it has been the jewel of the season.