| re: One difference from Once and Future King that no one is mentioning | |
| Last Edit: Delvino 09:23 am EST 12/08/22 | |
| Posted by: Delvino 09:19 am EST 12/08/22 | |
| In reply to: re: One difference from Once and Future King that no one is mentioning - AlanScott 05:05 pm EST 12/07/22 | |
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| We agree about "C'est moi." My bigger issue re Arthur is the diffused second act, which must incorporate the shoehorned entrance of Mordred and two unmemorable songs, "The Seven Deadly Virtues," "Fie on Goodness," and in some iterations, the risible Morgan Le Fey sequence. (Is "The Persuasion" still performed? A dear friend did it in high school.) We can debate whether Arthur is a singing role -- though he's given two songs early on, arguably establishing the role as a singing character -- but he has no solo from "How to Handle a Woman" in act one until the beloved coda. Structurally, he's lacking -- for comparison's sake using the same team -- his "I've Grown Accustomed to her Face." "Guinevere," a stirring number, does the heavy lifting as the plot places the three main characters in jeopardy. But this is admittedly a subjective parlor game we're playing -- I've never known any two people to agree on what's wrong with the show (though we usually agree about Logan's take) -- and the real issue for me is how a new book will work around the set song list. Others will disagree, but the problems in Camelot run deeper than the book. Per both my posts, it's who sings, where, and why. And I voice my reservations as someone who was obsessed with the piece in my youth, after seeing the national company in DC when I was in middle school. Listening again yesterday, I was transported - but as much to my own adolescence as a distant kingdom. That's beautiful music's power. |
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| Previous: | Correction: Should have been "underscored monologue" or "underscored speech" - AlanScott 12:53 pm EST 12/08/22 |
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