This week we chat with Matthew Hannibal Butler about which of life's truths can be gleaned from the Kennedy-favourite musical - Camelot!
"A 1993 review in The New York Times commented that the musical "has grown in stature over the years, primarily because of its superb score ... [which] combined a lyrical simplicity with a lush romanticism, beautifully captured in numbers like 'I Loved You Once in Silence' and 'If Ever I Would Leave You.' These ballads sung by Guenevere and Lancelot are among the most memorable in the Lerner-Loewe catalogue. King Arthur supplies the wit, with songs like 'I Wonder What the King Is Doing Tonight.'"
Listen to Matthew's Podcast here: thatsnotcanon.com/deliciouswordsandwichpodcast
FURTHER READING:
Camelot (film)
https://open.spotify.com/album/5Fp6Y3gNufwzUeEBxuOZpo
https://music.apple.com/us/album/camelot-original-1960-broadway-cast-recording/158476378
Camelot: The Musical, A History By Matthew Hannibal Butler
By Alan Jay Lerner and Frederick Lowe
A History By Matthew Hannibal Butler
Camelotis an oft forgotten and underrated musical masterpiece by the iconic duo Lerner and Lowe, first premiering with Sir Richard Burton as King Arthur and Dame Julie Andrews as Guinevere, with Robert Goulet as the dashing Sir Lancelot. They did not have these titles when it premiered in 1960 at the Majestic Theatre, but I thought it was a nice touch considering their royal counterparts.
Camelotis inspired by the definitive Arthurian novel The Once and Future King by T.H. White, a four book saga consisting of the iconic Sword in the Stone,The Witch in the Woods, The Ill-Made Knight and finally The Candle in the Wind. The musical mainly focuses on the events of this final instalment detailing with the last weeks of Arthur’s reign, the machinations and ultimately revolts by his son Mordred, Guinevere and Lancelot’s demise, and the tragic king’s final reflections of right and wrong. For all its levity, what I adore about this musical’s story is its choice to focus on one of the greatest tragedies in western folklore: The Fall of Camelot.
As you can tell, I am an Arthurian lore fanatic, and T.H. White’s book, in my opinion, is the best classic interpretation of King Arthur. A tragedy of this musical is, in my opinion, that it did not inspire more interest in White’s marvellous book.
Lerner and Lowe, as well as Camelot’s original director Moss Hart, were all coming from the chaotic universal success of their musical My Fair Lady and their musical film Gigi. Tensions and stakes were high. ‘Twas the classic tale of ‘What’s next?’ after tremendous success. Hart and Lerner decided upon T.H. White’s quintessential fantasy published in 1958 for their next musical. For a very small background on White, he wrote the bulk of the series in Ireland as a conscientious objector of the second World War between 1938 and 1941, thus writing a distinctly anti-war, anti-violent story engrained with western identity. To adapt this at this time, just before Kennedy’s escalation of the Vietnam War is a right proper noble gambit worthy of Arthur, let me tell you.
Frederick Lowe initially had no interest in the project, but agreed to write the score on the condition that, if it went badly, it would be his last. This do or die spirit, I found, reigned throughout the whole production, in spite of everything, and made it the suitably tragic triumph that it became. There were several problems plaguing the production, not least of which was Lerner’s wife leaving him during its writing, causing him to seek medical attention. I can’t help but surmise this informs one of the most poignant moments of the play, when Arthur realises the feelings shared between Lancelot and Guinevere and he thus soliloquises about his love for his kingdom, his purpose and in truth his friends will ensure that they will together nonetheless prevail through all challenges.
During its initial previews, it overran drastically. It was supposed to be two hours and forty minutes, instead it clocked in at a casual four and a half hours with the curtain coming down at twenty to 1 in the morning. Lerner later noted, “Only Tristan and Isolde equalled it as a bladder endurance contest”. In spite of this trial, positive reviews still generally prevailed though with an insistence much work needed yet. With drastic editing to be done, Lerner was hospitalised for three weeks with a bleeding ulcer, then Hart tagged into the hospital just as Lerner tagged out with his second heart attack.
Cutting it down became a stubborn quest, for Lerner did not want to make dramatic decisions without Hart. Alas, Jose Ferrer of Cyrano de Bergerac fame was unable to step in, and so it goes as Lerner wrote: “God knows what would have happened had it not been for Richard Burton.” He accepted cuts and changes all while radiating faith and geniality to calm the fears of the cast. A King off and on the stage. Meanwhile, ever the Queen, last minute changes were so dramatic that literally at the last minute before the New York preview Julie Andrews was given the iconic number “Before I Gaze At You Again”, simply remarking “Of course, darling, but do try to get it to me the night before”.
With Hart returned, literally and figuratively, cuts and edits continued. The New York critics’ reviews of the original production were mixed. However, My Fair Lady’s fifth anniversary approached and Ed Sullivan wanted to do a tribute segment on his show. Lerner and Lowe chose to mainly perform highlights from Camelot on the show, and so it was their new show achieved an unprecedented advance sale of three and a half million dollars.
Now that’s perseverance, even when things are going haywire, you raise the stakes even higher! This served also to make Robert Goulet a household name with his signature ballad, “If Ever I would Leave You” becoming the Once and Future Belter.
Camelot had its initial run. In such time, it gained many an award, including four Tony Awards, with Richard Burton for Best Leading Actor, naturally Best Scenic Design and Best Costume Design, with Franz Allers for Best Conductor and Musical Director and finally with Julie Andrews being ROBBED and fetching a nomination for Best Leading Actress.
Robert Goulet became a STAR with appearances on the Danny Thomas and Ed Sullivan Shows, and the stellar, and frankly best, original cast recording became a favourite bedtime listening for President John F. Kennedy, who was Lerner’s classmate at Harvard University. His favourite lines from the final reprise of the titular song became well-documented, and forever associated Camelot, with all its idealism and sheen, with the Kennedy Administration.
Small sidenote, to enjoy this tremendous score, the best buck starts and ends with the original cast soundtrack.
Alas, the obstacles encountered in producing Camelot were hard on the creative partnership of Lerner and Loewe, the show turning out to be one of their last collaborations. Camelot was indeed Hart’s last Broadway show, dying of a heart attack on December 20, 1961.
Since the original production, Richard Burton reprised his role as Arthur with Christine Ebersole as Guinevere and Richard Muenz as Lancelot. Then ‘twas revived in 1981 with Richard Harris as Arthur, Meg Bussert as Guinevere, Muenz once more as Sir Lancelot. This version can be found three parts on the YouTubes. Harris starred in the tragic for all the wrong reasons film, but proved he was the jewel in that particular crown for he took the show to tour nationwide with Muenz. A curious Broadway Revival also ran in 1993 with Robert Goulet now King Arthur.
There was then in 2007 Michael York as King Arthur, Rachel York, no relation, as Guinevere and the disgraced James Barbour ironically as Lancelot.
Alas, I have not been able to see Michael York as King Arthur, as that is inspired casting.
The final production I have had the honour of seeing was in 2008, since alas taken down from the YouTubes, where the New York Philharmonic presented five semi-staged concerts of Camelot with Gabriel Byrne as a more contemplative and subdued King Arthur, Marin Mazzie as Guenevere, and Nathan Gunn as Lancelot. What made this production stand out for me was it didn’t overdo anything, as this musical can oft be overwhelming, and also it featured Christopher Lloyd as Pellinore, a role I feel he was destined to do. Oh, if only they had done a spin-off adventure story starring Christopher Lloyd as Pellinore in his endless hunt for the Questing Beast.
All in all, the history of Camelot I think reflects it perfectly for better or ill. It is not a universally appealing production. In my opinion, it was never destined to be, considering its content and style. It is very chatty, pontificating and philosophical, yet with its simply magic score, a lush fantastical world, sweeping tragic romance and swashbuckling glory, when it connects with people it connects as firmly as the sword in the stone.
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