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Camelotalways looks better in hindsight.
Lerner and Loewes musicalization of Arthurian legend, itself based on T.H.
WhitesThe Once and Future King,first made it to Broadway in 1960 after a rocky out-of-town tryout.
Lincoln Center Theaters production, directed by Bartlett Sher, is better on the latter front than the former.
Hes unsurprisingly drawn to the politics ofCamelot, and he remains too quippy for his own good.
You dont miss the magic much, though the stubs where its been lopped off are obvious.
Yet Sorkin falters on of all things the dialogue.
He says its a metaphor.
She says she knows what a metaphor is.
Humor that leans against the fourth wall of a show is fine in small amounts.
But the accumulation of so … that happenedstyle jokes starts destabilizing its load-bearing columns.
Luckily,Camelothas the Gothic flying buttresses of its songs to keep its structure sound.
Its toCamelots advantage, then, that it ends in the mythic realm.
Thats the trick ofCamelot, too, as a show.
Camelotis at the Vivian Beaumont Theatre.
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