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!

I have seen many performances of Camelot, and this is by far the best. I hope it will soon be released on DVD so everyone can enjoy this truly fabulous production! The "film" versions of Broadway musicals have always lacked the special feeling of "live theater"- but this production truly captures the unique feeling of the New York stage.

Having been a fan of the Legend, book and film before hand, I was always going to have a bit of a treat when watching this, but i really did love it. The shows look is beautiful and captures the mood of the story almost perfectly throughout with as good a script the musical has ever had accompanied by some groovy stage effects.

I think its probably easyer and fairer to compare this to the Camelot experienced on stage in London and around the world a few months after filming (how it compares to the live experience) than to the film, which though also great was never going to be exactly the same as this rendition. On this account it comes out beautifully, it was the first time Camelot was turned into an effectual fairytale, and it really worked, adding a mythical quality that really strengthn'd it. The only negative slant i have on this plain, looking at both the film and London staging is how the cast is cirtainly a big weaker on some accounts in terms of performance. Richard Harris is absolutely brilliant as the kindly yet deeply troubled king torn apart by his wife and son. However, though perfectly acceptible, Meg Bussert is to me never really anything more. She is fair looking, and convincing enough, but you never really believe her Guinevere is worth tearing a kingdom apart over. Her voice is also a big operatic for me (though always note perfect) loosing any emotion in the more touching songs like 'before i gaze at you again'. Fiona Fullerton was definitely more suited in that sense. Muenz is also a little lacklustre in his portrayal of lancelot. Although the blind pride and arrogance is there, he really misses the charmming and charismatic side held by Franco Nero in the film, appearing a bit wooden in the emotional scenes. However, these, although a little upsetting, are only blemishes on this gleaming version which (also overlooking a completely OTT Merlin) displays the play in all the majesty and beauty once invisioned by Learner and Lowe.

Another compelling quality lies in how the play starts upbeat and very comic before stripping this slowly away until in the under three hours you spend watching it you get up thinking you've just witnessed a full blown arthurian tragedy.

Great Stuff, I believe its on DVD this month

I love this Cable T.V. broadcast of "Camelot"! Richard Harris was outstanding and Meg Bussert was Beautiful! The singing far surpases the Original film version and the supporting cast is wonderful.Barry Ingam's Pellinore is a riot! Find this production if you can! Its not on Video yet!

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.