Part of the cable series "HBO Theatre", this is a videotaped presentation of the 1980 Broadway revival of the musical.Part of the cable series "HBO Theatre", this is a videotaped presentation of the 1980 Broadway revival of the musical.Part of the cable series "HBO Theatre", this is a videotaped presentation of the 1980 Broadway revival of the musical.
- Awards
- 4 nominations total
Caryl Tenney
- Nimue
- (as Jeanne Caryl)
Featured reviews
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.
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.
I am disappointed, when I like something, to immediately come upon a bad comment the first thing I read comments. I loved this version much better than the movie as the lady who did Guinevere really had a beautiful voice and was much lovelier than the screen version. Richard Harris was delightful and would have only been surpassed by Richard Burton, who originally did the play on Broadway. (Julie Andrews should have been in the movie) The man who did King Pellinore did a wonderful job and Merlin was also played well. I got a lot more enjoyment out of the play. Somehow it was like being in the theater. Since I never get to go to plays, this is a marvelous way to view them. I think that anyone who does not like musicals should never review them as it will always be with criticism. See it if you get a chance, although it is difficult to get a copy.
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.
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!
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 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!!!!!!
Did you know
- TriviaFor this revival, Alan Jay Lerner used his screenplay for the 1967 film, rather than his original 1960 stage play. The screenplay includes two scenes not included in the original stage play. The flashback structure seen at the beginning, and the sequence in which Arthur encounters Merlin while in the forest, followed by Mordred persuading King Arthur to stay in the forest.
- Quotes
Chorus: In that dawn, in that gloom, / More than love met its doom, / In the dying embers' gleam / Came the sundown of a dream.
- ConnectionsFeatured in Atop the Fourth Wall: The New Guardians #1 (2012)
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