“In ‘Camelot,’ the clever, lightweight style of Lerner’s dialogue, and the show-off triple rhymes of his lyrics, clash with his ambition. They make Loewe’s profoundly polished music...which open the show, come off as charming tea party tunes.”
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“For all the changes this ‘Camelot' attempts, its most traditional aspect comes out on top: Loewe’s music, which is faithfully and beautifully served by a luxurious orchestra of 30 pieces, including six violins. But the production is essentially dispassionate, and there is only so much one can be swept up by the strings.”
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“The musical is full of energy and praiseworthy performances, particularly from Soo and Donica. An evening at the Vivian Beaumont Theater is a theatrical event in and of itself, and I enjoyed a themed cocktail at intermission called Here in Camelot and people-watching at the Lincoln Center complex.”
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“Director Bartlett Sher’s gray and forbidding revival of the classic show could definitely use a bit more shine. It’s dark a lot in this ‘Camelot’.”
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“The revival makes you want to believe in a great musical called ‘Camelot,’ even if such a thing never did exist.”
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“While the pleasures of the production, chiefly musical, are abundant, the overall impression is one of a studied self-seriousness that tends to smother, as under a weighted blanket, your excitement.”
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“The original orchestrations by Robert Russell Bennett and Philip J. Lang, here brought to life by a fine 30-piece orchestra conducted by music director Kimberly Grigsby, go a long way in explaining ‘Camelot’s’ enduring appeal.”
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“At the end of the night, though, and notwithstanding whatever changes you might want to make to the 1960 world view, what really matters is that the audience believes in, and pulls for, the love of Arthur and Genny because it is a stand-in for American democratic values.”
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