Review: The 1960 musical “Camelot,” starring Phillipa Soo and Andrew Burnap, opens on Broadway with a new book by Aaron Sorkin, but lacks the exuberant spirit that it needs.
Director Bartlett Sher’s lavish production in the Vivian Beaumont Theater boasts some appreciable assets, namely, a gorgeous scenic design by Michael Yeargan that meets the test of grandeur, and an interestingly moody performance by Soo, who sings with angelic authority. Towering Jordan Donica announces his arrival as heartthrob Lancelot with a buoyantly operatic “C’est Moi,” and costume designer Jennifer Moeller wraps Soo in a beguiling closetful of chic frocks.
This incarnation skirts for so long how Arthur and Guenevere feel about each other that by the time they do declare their mutual affection, it’s no longer all that affecting. For only one brief shining moment, really, does this “Camelot” come alive with sensual possibility, and it’s not in the chemistry between Guenevere and Donica’s Lancelot; the lightning just doesn’t seem to strike there.
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