Stars Brighten Dreary 'Camelot'

There are many things that puzzle me about Camelot, the musical from the early 1960s currently playing at the Broward Center.

Firstly, how could Lerner and Loewe have provided such an unimpressive score for this show and how could Mr. Lerner burden us with a book for the show that is dull, tedious and somewhat sophomoric? Secondly, why on earth would anyone think they could make money or achieve a theatrical homerun by reviving a show that was never successful with the critics or the audiences, to begin with? Lastly, did it occur to no one that it is a bad idea to present a musical with the first musical number taking place about ten minutes into the first act?

(Photo by Craig Schwartz)

As a team Lerner and Loewe gave us the incredibly masterful scores to 'My Fair Lady,' and to 'Gigi.' They also gave us this score for Camelot which boasts only two songs to sing about. The title song is an absolute delight and always a joy to hear performed. Also, 'If Ever I Would Leave You' is certainly up there with the great love songs composed for the theater. Unfortunately, that is it for outstanding music and lyrics in Lerner and Loewe's Camelot. This is particularly perplexing when one considers that the part of Guenevere was created in this musical by Julie Andrews, following her triumph as Eliza in 'My Fair Lady.' In 'My Fair Lady' there is a treasure trove of songs for the leading lady, none are to be found for her in Camelot.  Camelot brings us the story of King Arthur and the knights of the Round Table as well as the love triangle that develops when Arthur's wife Guenevere, and his most beloved knight, Lancelot, develop romantic notions for each other.

This is a good starting point for a musical and the possibilities are most promising. However, the aforementioned music and lyrics and the dialogue and plot would never be performed in a land as magical as that of Camelot. Michael Lerner is credited with making alterations to the book of the show. Suffice is to say, he should have let someone else take a stab at it. Then again, not much book tweaking or even stagecraft can mask the shockingly disappointing score of Camelot. This show, sadly, does not work and that helped to lead a great deal of the audience to their cars to escape from this Camelot during intermission.

There is handsome scenery from John Iacovelli and some lovely costumes from Marcy Froehlich. There is minimal, not very impressive choreography created by Dan Mojica and the production as directed by Glenn Casale just lays there.

There are indeed bright spots in this Camelot but they are very sparse. James Barbour is perfect casting as Lancelot. His gorgeous voiced rendition of "If Ever I Would Leave You" is simply magnificent.

Rachel York as Guenevere is a true Broadway champion. Her spectacular singing voice and stage presence make her performance one that is absolutely glowing. One only wishes she had great songs to sing in this show. She does not.

Michael York is certainly obvious casting for the part of King Arthur. He is majestic, charming, boyish, engaging and delivers a delightful performance despite the weak material. He has gotten a tad on in years and it would seem to make more sense if Arthur were about at least ten years younger than Mr. York. However, with the stuff the cast has to work with, it really doesn't matter much and Mr. York's King Arthur is a winning one.

Ultimately, I must report that sitting through Camelot was a bit of a chore. To appreciate Lerner and Loewe at the height of their powers, one only need view the Oscar winning Best Pictures "My Fair Lady," or "Gigi." Those treats will lead you to the enchantments alluded to in the title song of Camelot. Camelot's final performance at the Broward Center is June 24th.