Actually, the best song in Camelot, if you add melodic appeal and thematic importance together, is "Follow Me." It's the only one that gives me the feeling that I've enetered a semi-mythical, semi-legendary time and place where something magical might actually happen.
But the fact thet we've now mentioned some half-dozen songs from Camelot that are wonderful tells us that the score is not the problem. (In a Broadway musical, it almost never is.) The problem is that there is simply too much going on in the four volumes of The Once and Future King to make complete sense out of in one evening. Given the time constraints, many important plot or character elements have to be skipped or slighted.