Yes, please do, Alan.
What script (aside from the very recently shortened version) do they generally license? Is it based on the one that was revamped AFTER the Broadway opening, when Hart came back from his illness to fix it?
(I agree that the Lonny Price Lincoln Center version was off. Fran Drescher’s Fran Drescher-ness was too much for the style of the piece, Steggert was quite overdressed, the Arthur (Byrne?) was unable to manage the rhythms (showing how difficult the Harrison/Burton talk-speak-work on Lerner’s lyrics actually is), and...well...it just didn’t work overall. But I always like the show.
Robert Sean Leonard rose to the occasion in the radically cut-down Lee version that was done in Westport a few years ago. That role demands great acting. And Guenevere demands great acting too...or a particularly strong presence at least, to encompass the frivolity, her growth (at the miracle), her tragedy, and her decency. (Remember: in the stage CAMELOT, she does NOT commit adultery in fact until after her trial and near-execution...her devotion to the Table remains til Lancelot has to rescue her from burning and everything has gone downhill. In the film, Redgrave and Logan and Lerner elected to have her leap into bed with Lancelot, as she had in the TH White novel. This shifts a lot of things, not the least of which is the audience’s sympathy for Arthur’s willingness to trust. Andrews writes about the reasons for the original creators’ interpretation of this in her first memoir, and I think they were right.)