I have been longing to see the new Lincoln Center Theater production of Lerner & Lowe’s “Camelot” since the cast announcement came out. Phillipa Soo is best known for playing Eliza in “Hamilton” and it was exciting to hear a modern star like her take one of these loved ‘legit’ musical theater roles. The original 1960 production featured Julie Andrews in the role of Queen Guenevere, Richard Burton as Arthur, and Robert Goulet as Lancelot – so no pressure!
While Guenevere’s songs have long been part of my playlist due to the love of all things Julie Andrews, the exact way that the legend would unfold was a surprise for me as this 2023 revival features a new book by Aaron Sorkin and it had many strengths but… well, we will get to that.
The role of Arthur is usually played by Andrew Burnap, who from clips seen online fits the Disney prince ideal, but on Tuesday night it was played by Fergie L. Philippe (who has also played Sir Sagramore) who climbed down the ladder onto stage in a disarming way. Winning the audience over with an open stage presence fitting the young king.
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Phillipa Soo’s appearance was greeted with large applause and she quickly set the tone for her Guenevere: a quick-witted, strong-willed generous woman who is instrumental in the creation of Camelot. Her voice is marvelous, a perfect extension to her speaking voice, strong and warm. She leans more on the contemporary side bringing her mix high but can in an instant change to full open vowels when required (such as at the end of “Lusty Month of May”). She picks the beginning notes to “What Will the Simple Folk Do” out of thin air without orchestral cue.
Together Arthur and Guenevere made a charming couple on the path towards a sweet, but slow budding romance and new wonderful idyllic society together. Enter Lancelot (played by Jordan Donica), now the true sparks fly. While at times the orchestra overpowered Fergie and Phillipa, Jordan has no problem being heard with his robust tenor voice. “C’est Moi” the character’s delightfully egotistical introductory solo is utterly believable due to his presence and vocal prowess.
Singers are very often competent actors but “Camelot” especially relies on scenes and dialogue in addition to the sung numbers to bring the story home. Here once again Phillipa is a delight, she completely owns the stage. Her movements are graceful and comedic timing and coquettish charm in “Take Me to the Fair” are notable, but the dramatic moments are especially compelling. Fergie holds his own and like Phillipa really shines in showing the dramatic climax, Arthur’s rage and pain. He is one to watch. Jordan is likewise excellent throughout.
Of course, “Camelot” does not end in the vision of prosperity for all. The introduction of Mordred, Arthur’s lovechild, (played by Taylor Trensch) spells the beginning of the end. The ensemble deserves special kudos for “Fie on Goodness” in which the set is in constant motion. Also shoutouts to Frank Viveros and Tesia Kwarteng – my ears instantly perked up when Tesia sang. That voice is glorious and I hope to hear more of it in the future! Also, although we see her on stage for only a short time, Marilee Talkington is perfectly cast as Morgan Le Fey.
The dialogue is modern and uses clever jokes and innuendo, and yes you’ll hear an expletive or two. Magic is gone but still manages to keep the audience engaged though Act 1 is stronger than Act 2. Morgan Le Fey is no longer Mordred’s aunt but his mother who Arthur used and abandoned. But without her spell to hold Arthur it’s a little harder to understand why everything falls apart on the same night. Guenevere succumbing to Lancelot, yes that had been brewing for a while and Arthur’s blunder referring to her as his ‘business partner’ along with weekly letters to Morgan make this move plausible, but the knights also turning at that exact moment is less believable.
In the original production I had heard Guenevere and Lancelot never actually consummate their love due to the creative team’s belief that Richard Burton’s appeal and reputation with women would make it hard for the audience to buy that anyone would cheat on him. In 2023, Guenevere and Lancelot do completely give in to their attraction for each other which is immediately met with regret and cries of treason. The result is war and chaos. It’s messy but even more strange is the final admission from Guenevere that she has loved Arthur all along, “Since the moment I saw you.” But did she really?
Arthur and Guenevere always had a friendship and it could have been love, was building there before Lancelot’s introduction, but it was never apparent it had indeed reached that level of passion. This admission followed by Guenevere leaving to be with Lancelot and knowing Arthur and his knights will die was a very odd way to end. Fortunately, the appearance of Tom of Warrick (played by Camden McKinnon) gives hope that the best ideas of Camelot will not be lost forever which saves it somewhat.
Overall, the cast is incredible. The sets were simple but very effective. The costumes for Guenevere especially were absolutely stunning! Her maying dress and that velvet red… perfection! The story is less so. Camelot is meant to be the ideal society where goodness reigns supreme but in it there is no room for humanity, no mercy or grace when the law is crossed and for that reason it deserved to be lost.
Camelot will play its final performance on July 23rd and it is well worth getting the chance to hear these talents live. Click HERE for tickets.
