I see this as a view of King Arthur as an aging king looking back on his past, not as he was, but as he is. In 1984, I sat at the Pantages Theater in Hollywood, not knowing what to expect out of Richard Harris, repeating his film role of King Arthur that he had played as a handsome young man more than 15 years before. Still commanding and filled with spirit, Harris was still physically too old for this part. Richard Burton had repeated his role of King Arthur on tour on Broadway a few years ago, but ailing, he had to step down, asking Harris to take over. Burton may not have been well, but stills show him to look younger than Harris did in this part, playing London and Broadway, and touring extensively.
But aside from his physical appearance, Harris does command respect for really believing in this part, and hiding behind sincerity. Meg Bussert sings beautifully as Guinevere, while handsome Richard Muenz is hysterically funny as the egotistical Lancelot who believes himself to be too saintly to be as pretentious as he is. Richard Backus, a veteran of many soap operas, is very Caligula like as the sinister Mordred.
A handsome but dark production gives a hint of things to cone with the invasion of the British musicals just a few years later. The large Wintergarden Theater (about to get invaded by cats) is amply stuffed with forests and castles and countryside sets, occasionally brightened up with big production numbers and flamboyant humor.
"Camelot" is best appreciated for its luscious score, if not its problematic book. Almost operetta like, it seduces the viewer with its divine score, beautifully sung by Harris, Bussert and Muenz. So if this is far from a perfect show, it does have much to admire, and it gives light to how the show could improve or be changed for any future Broadway revivals yet to come.
But aside from his physical appearance, Harris does command respect for really believing in this part, and hiding behind sincerity. Meg Bussert sings beautifully as Guinevere, while handsome Richard Muenz is hysterically funny as the egotistical Lancelot who believes himself to be too saintly to be as pretentious as he is. Richard Backus, a veteran of many soap operas, is very Caligula like as the sinister Mordred.
A handsome but dark production gives a hint of things to cone with the invasion of the British musicals just a few years later. The large Wintergarden Theater (about to get invaded by cats) is amply stuffed with forests and castles and countryside sets, occasionally brightened up with big production numbers and flamboyant humor.
"Camelot" is best appreciated for its luscious score, if not its problematic book. Almost operetta like, it seduces the viewer with its divine score, beautifully sung by Harris, Bussert and Muenz. So if this is far from a perfect show, it does have much to admire, and it gives light to how the show could improve or be changed for any future Broadway revivals yet to come.