Review: Aaron Sorkin’s revival of “Camelot” trades wizardly magic for moralism
7 / 10
Filling up all that empty space, however, are some of the American theater’s finest talents. Burnap and Soo are crisp conductors of Lerner and Loewe’s vocal score. Donica as Sir Lancelot is a revelation; Sher architects for him one of the sexiest Broadway entrances I’ve seen all year. Lancelot’s devout zeal for serving the king is complicated by his attraction to Guenevere, sparking a love triangle that earths the fantastical tale in the most human of impulses: desire, jealousy, lust. Lancelot, restrained by his allegiance to the throne, sings “If Ever I Would Leave You” — an aching aria of yearning — to Guenevere, conjuring a level of heat matched only by the balmy, 75-degree weather outside Lincoln Center’s doors. It helps that this song, and the remainder of them, is in the prodigious hands of music director/conductor Kimberly Grigsby and her 30-piece pit orchestra. Grigsby keeps firm control over the spritely percussive swells and thunderous drum rumbles driving the action of “Camelot” forward.
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