‘Camelot’ Broadway Review: With Aaron Sorkin, What’s Love Got to Do With It?
9 / 10
Once again, Lincoln Center Theater shows that it knows how to amplify a musical. The real singing voices and the real playing of 30 musicians in the pit can be heard. Marc Salzberg and Beth Lake’s sound design merely supports the music; it doesn’t replace the original sound. It’s ironic because when the Vivian Beaumont opened in 1965, the venue was lambasted as the acoustic nightmare of Broadway theaters. Today, it is the last refuge of experiencing Broadway musicals as they were meant to be heard.
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