It's good to be king. It's even better to be king in an old-fashioned musical about a land where pretty much nothing bad ever happens – except for the overly virtuous best friend who's caught smooching the queen, that is. But other than that, not much happens in Lerner and Loewe's "Camelot," now playing at Detroit's Fisher Theatre. And that's always been one of the problems with this beloved musical.
Based upon T.H. White's novel, "The Once and Future King," "Camelot" tells the romantic tale of legendary King Arthur, Queen Guenevere and the quest to create the noble Knights of the Round Table. Yet despite having one of the richest Broadway scores of the mid-twentieth century, "Camelot's" downfall was not Sir Lancelot's lust, but the show's "book" – the script – by Alan Jay Lerner.
That was evident as far back as the production's pre-Broadway run in Toronto, where early performances ended at five minutes to one in the morning. The script has been trimmed considerably since then – recent cuts and rewrites by Michael A.M. Lerner have shaved the show to two-and-a-half hours – but what's been seemingly lost is any sense of drama to the unfolding story. Much of the meat is simply talked about, rather than visualized. Merlin's story, for example, is pretty much all chat and no flash – and after a few early scenes, he's never seen again. (Not a bad way for actor Eric Anderson to collect a paycheck, though!)
What theatergoers DO get with this touring edition, however, is a well-sung production dressed in amazing costumes by Marcy Froehlich and placed inside a lavish set by John Iacovelli that will astound you. (The castle interior and throne room are especially impressive.)
The acting, though, varies.
Michael York plays Arthur as a wistful, thoughtful and honorable man who's bemused by all that life has given him. The interpretation works quite well, given the actor's age. (He's 65, a time when many people begin looking back at their accomplishments, or lack thereof.)
Where age works against him, though, is with co-star Rachel York (no relation), who is 30 years his junior. Although there's often an age gap between these characters on stage, the two are only about eight years apart in White's novel – which might make theatergoers wonder just what a virginal young woman would see in a man old enough to be her father. (It also sheds a whole different light on Guenevere that the playwright probably did not intend.)
Despite that, however, Ms. York – who won a Drama Desk Award for her role in "Victor/Victoria" – brightens the stage with infectious energy and a sweet voice that's perfect for the role.
Another astounding – and very deep – voice belongs to James Barbour, who portrays Lancelot. His song, "If Ever I Would Leave You," is excellent, but one wonders why such a charming and charismatic character is reduced to a mope in this production.
Other supporting characters, especially Time Winters as Pellinore, are fine. And the ensemble proves "there's simply not a more congenial spot or happy ever-aftering than here in Camelot."
(FOR "REVIEW BOX")
REVIEW:
'Camelot'
Fisher Theatre, 3011 W. Grand Blvd., Detroit. Tue.-Sun., through April 29. Tickets: $28-$78. For information: 313-872-1000 or http://www.broadwayindetroit.com
