| Worth noting: In the original-original Camelot, any whiff of sexual relationship between Lance and Guinevere was excised out of town. Andrews lands on this in her memoir. So we're to assume the actual adultery and resulting treason charges stem from emotional connection and disloyalty. We'll leave out Joshua Logan's sweaty slo-mo multi-season eroticism, though it least it made sense. Here, it's just bizarre, since two young, beautiful people -- the Burnap Arthur, the Soo Guinevere -- have no sexual engagement with anyone for the bulk of the storytelling's run time? And Guinevere is finally deflowered (archaic sexist terms intentional) by Lance late in act two? Why all the singing about the lust in mid-spring? Does Guinevere return to her chilly bedroom alone, a hot young Arthur down the hall? Why? Why does no one act on libido, in a show where libido is embraced as a seasonal attribute? How does this serve logic, let alone the demands of a musical theater romantic tale? All of this I opine in addition to the ludicrous idea that a royal couple wouldn't consummate a negotiated two-state marriage. A cascade of improbabilities. |
