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Camelot
Book & Lyrics by Alan Jay Lerner
Music by Frederick Loewe
Directed by Glenn Casale
Produced by Broadway In Chicago
At the LaSalle Bank Theatre
18 W. Monroe
Chicago, IL
Call 312-902-1400, tickets $27.50 - $75
Tuesdays at 7:30 pm
Wednesdays at 2 & 7:30 pm
Thursdays at 7:30 pm
Fridays at 8 pm
Saturdays at 2 & 8 pm
Sundays at 2 pm
Running time is 2 hours 50 minutes with intermission
Through May 13, 2007
Lushly extravagant revised Camelot does the original proud
Still one of my all-time favorite shows (I saw the original on Broadway in 1961 with Richard Burton and Julie Andrews), Michael York’s Camelot is a lavish, tuneful classic. The national tour of Camelot contains a revised book by Michael Lerner, the son of Alan Jay Lerner, the original book writer. Frederick Loewe’s haunting epic score soars with the vivid sets and apt costumes and lighting in the legendary King Arthur story based on T. H. White’s novel, “The Once and Future King.” The show won 4 Tony Awards in 1961 and was the most expensive spectacle of its time.
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The story revolves around the idealistic, fair-minded king who establishes rule of law over the ‘might equals right’ mentality. Michael York is splendid as Arthur, playing him as a pure understanding, reasonable and trusting fellow who places chivalry and loyalty as paramount values. His bride, Guenevere (Rachel York, radiant and golden voiced) falls for the pompous and too pure French knight, Lancelot (the big-voiced James Barbour). This smart, well-staged and beautifully sung touring show features a revised book that has Act 1 playing as a pure romantic comedy while Act 11 becomes a tragedy. The revised tone wherein Guenevere and Lancelot gradually reveal their love gradually and subtly adds the necessary dramatic tension to be more plausible. So the song, “If Ever I Should Leave You” moves later in Act 11 after the two eventually fall for each other. (A major change that works)
The Pellimore (Time Winters) character becomes a more character-driven comic persona that the vaudevillian normally depicted. Michael Lerner clarified the themes making the three major characters, Arthur, Guenevere and Lancelot three aspects of the came person: Arthur is logic and compassion; Guenevere is passionate and sensual while Lancelot exudes passion of virtue and spirit. This interpretation gives the show a clear focus that enhances the idealistic Arthurian myth. The jousting and sword play are edgy adding a physical flair to the saga.
The production sings quite well, lead by Rachel York’s melodious voice reminiscent of a young Julie Andrews while James Barbour’s booming baritone commands his songs. Shannon Stoeke’s Mordred was effective and Stuart Ambrose’s Sir Lionel, Daniel Guzman’s Sir Dinadan and Robert J. Townsend’s Sir Sagramore sung marvelously.
This is a wonderful, flowing and empathetic Camelot in which Michael York delivers a moving and tender King Arthur. We are saddened as his Round Table crumbles yet we are enchanted at his idealism and hope for the future of England. Come to the LaSalle Bank Theatre to see a worthy, tuneful remount of a classic Broadway musical. The revised Camelot plays well.
Highly Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed: May 1, 2007
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