When "The Golden Age of Broadway" is mentioned, it usually references a period of time that includes the original production of Lerner and Loewe's Camelot. Forty-seven years later, Camelot still shines as the touring company visits Providence Performing Arts Center (PPAC).
The new King Arthur, Lou Diamond Phillips slides easily into the character most recently occupied by Michael York, perhaps most famously by Richard Harris, and originally by Richard Burton.Arthur plans his utopian society and extols the virtues of his kingdom to Lady Guenevere (Rachel de Benedet's) in the title song 'Camelot'. Charming and affable, Phillips' singing style is most like Rex Harrison's in Lerner and Loewe's My Fair Lady. Rachel de Benedet's Guenevere is as glorious as she is virtuous. de Benedet's voice is lilting and beautiful; her stage presence, commanding. One can imagine putting a kingdom at risk for her love.Larger-than-life, with chiseled good looks, Matt Bogart captures the un-nuanced existence of Lancelot. Lancelot's obsession to his 'quest' has blinded him to any reality. Bogart's French accent is broad: more humorous than romantic. He handles the comic 'C'est Moi' with aplomb. The memory of the Robert Goulet's voice haunts 'If Ever I Would Leave You", it is an unattainable standard to set, but Bogart does well enough.
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