At almost three hours on a spartan stage, “Camelot” grinds into a numbingly boring show.
) is in disguise as she overhears the revelation of the true identity of a man she has recently been demanding assistance from. She has made it clear to the man that she must get out of England, very much against the idea of an arranged marriage with that country’s King Arthur .
For him, the name of the musical long ago bled into its wider political-cultural definition. Certainly this production emphasizes the power of idealism set against the sullying forces of chaos-bringers and dangerous liars that today’s audiences are all-too familiar with, but—like much in the show—the point feels lost.
Also: Does Arthur care that much—about his marriage, about chivalry, about running the country? He says he does, but he seems almost as absent-minded as Arthur’s paternalistic mentors, Merlin and then Pellinore . While Arthur tells the story of sword pulled from stone, and Excalibur is glintingly unsheathed, this stern and spartan show itself feels denuded of myth and magic.Burnap’s Arthur and Soo’s Guenevere seem not just mismatched, but in different shows in different timezones.
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