Camelot

When you watch the HBO telecast of the 1980 Broadway revival, you wonder why the 1967 film version of Camelot was ever made. Why didn't Hollywood wait fifteen years and just release this taped live performance instead? Meg Bussert had a far superior soprano voice than Vanessa Redgrave, the tempos of the songs and dialogue were perfectly up to speed, and Richard Harris has never been better. It's a case of "Plato's cave"; now that I've seen this excellent version, I'll never watch anything else when I crave Lerner and Loewe's classic musical.

If you've never seen it performed live, you might be surprised by how comedic the first half tries to be. It's a dramatic story, but there are endless jokes. Don't get used to them; the second half is just as tragic as you're expecting it to be. I don't know if the performance taped was closing night, or if Richard Harris was thinking of something particularly sorrowful, but his finale was so full of emotion, I was almost embarrassed to be watching. He was practically weeping, and great kudos must be given to his waterproof makeup. In fact, his curtain call was given with a somber face, as if his emotions ran so deep, he couldn't snap out of it to take a well-deserved bow.

I highly recommend watching this live performance. Sometimes the movie version adds extra quality to the story, but in this case, it's better to see it on the stage. Sure, the jousting competition is a little corny, echoing the horserace scene in My Fair Lady, but the Guinevere number is just as exciting as the celluloid version. The Sound of Music beautifully transported the audience with film cameras, but in Camelot, no cameras are needed. Richard Harris does the transporting. He loved playing King Arthur, and he's extremely good at it. With his transformation from young, insecure bridegroom to mature, well-intentioned king makes you feel you've spent far more than three hours with him. In 1967, most audiences felt he was just giving an excellent Richard Burton impression in the film, but by 1982 (although you can still see the other Richard in there), he owned the role as his own. Adorable during "I Wonder What the King is Doing Tonight", passionate in "Camelot", and showstoppingly tender with "How to Handle a Woman". Many thanks to HBO for taping this show!

The opening includes beautiful glowing night-shots of Manhattan with the overture of Camelot, as if Manhattan was the legendary kingdom itself, and the Wintergarten is the palace. Behind the curtain is a lavish production with gorgeous costumes and sets. Better singing and acting with real emotion. In this version Guinevere and Lancelot are not portrayed as lust-driven traitor-friends... but quiet lovers who suffer greatly because they both love the King, and each other. It is passionate, sad, and shows the vulnerability with much grace. Not to mention, the comical lines are laughable in this version... unlike the movie musical. The joyful spots are truly memorable and funny. All-in-all the best version I have ever seen and the performances are wonderful. SO grateful this is finally out on DVD!!!!!

I love the Arthur story in all its incarnations and I love musicals so what could be better?! This movie is great way to see all the nuances of the performance. I saw this tour on stage and doing it live they left out some of the little tidbits that were captured in the taped version. Now if someone could tell me where to get a copy I would be indebted!!!!!!

This 1982 Stage production of 'Camelot" as filmed for HBO is about as perfect an adaptation of the Lerner and Loewe musical as you will ever see. The set design and lighting captures the magic of the piece brilliantly. Richard Harris was born to play King Arthur and he is even better here than in the 1967 film version. Full of passion,wistful humor and majesty His performance borders of the Shakespearean. Meg Bussert is a perfect Guenevere,Pretty,impudent and later heartbreaking. Her singing voice is wonderful and is excellently used in the production. Richard Muenz makes Lancelot funny at every turn during his well delivered "Ces't Moi" number and has some masterful double takes,Later he is touching as the dream of Camelot unravels due to his infidelity with the Queen. Barrie Ingham is the epitome of the the comical King Pellinore and nearly steals every scene he is in.Richar Backus is evil personified as Mordred (His "7 Deadly Vitues' number is one of my favorite moments) and James Valentine is a hammy and thunderous Merlyn.

Highlights of the production are Harris' touching "Hoe To Handle A Woman" Bussert's show stopping "Simple Joys Of Maidenhood" and The rousing 'Guenevere" chorus lead by William Parry's Sir Dinadin. Although I like the film version quite a lot,this Broadway production captured on tape is a gem to be treasured. To bad its not available on Video or DVD.

I saw this version back when it first appeared on HBO and have never forgotten it. I hope they release it on DVD some day as I much prefer it to the earlier film version, which was much too dark and weighty. The added scenes enhance the continuity of the play, and the convoluted relationships of the story are much easier to grasp.

Ms. Bussert portrays a delightful Queen Guenevere. Her interpretation makes the role genuine and sympathetic as she matures from a naive romantic to a woman who is torn apart by her loyalty to Arthur and her passion for Lancelot.

My only regret is that I had not taped this 20 years ago.