Why Is This Camelot Different from All the Others? | Conversations with Jim Zirin
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- Опубликовано: 6 окт 2024
- Superstar award winning director Bartlett Sher tells Jim Zirin about the fourth revival of Camelot on Broadway with book by Aaron Sorkin. Nominated for a Tony award, this one is deep in contemporary significance, and is perhaps the most memorable.
Recording Date 05/08/2023 First Air Date 06/06/2023
Conversations with Jim Zirin is a talk show designed to illuminate the news by taking the time required to understand and interpret national and world events. The series features high-profile guests from the worlds of politics, law, business, foreign relations, national security, counterterrorism, media, lifestyles, literature, the arts, and the military. The series is hosted by Jim Zirin, a leading litigator and contributor to major publications including Forbes, the Daily Beast, the Nation, The Times of London and the Los Angeles Times. He is the author of two books, The Mother Court -- Tales of Cases That Mattered in America's Greatest Trial Court, and Supremely Partisan-How Raw Politics Tips the Scales in the United States Supreme Court. Jim served as an Assistant United States Attorney for the Southern District of New York in the Criminal Division under the legendary Robert M. Morgenthau.
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The success of the original production was because of its great score and great cast, this revival only has the great score and the new book is dreadful.
No smash at all. Closed after 4 mos....Sorkin's script was tedious !!!!!!!!!!
Why does it have to be different? Is there a reason other than "to be different"?
Viewers here might find a production of ARTUS EXCALIBER, a musical in German with subtitles (music by Frank Wildhorn, of whom I am not a big fan but who writes fairly effectively here) an interesting watch, telling the same story, with Merlin and Morgana figuring very prominently. Some excellent performances in this engaging though not perfect theatrical production~~might still be found here on yt.
I love Sher so much and I'm sad that Sorkin messed with the script. I wish that the show had been given a much more opulent treatment. It was just kind of cold and forced. It was an interesting experiment, I guess
The book of "Camelot" had been revived before; and all the revivals and revisions are cases of trying to make a silk purse from a sow's ear. "CAMELOT" is a majestic, opulent musical that just DOES NOT work from a dramatic perspective. Just because Sorkin wrote a "new book" does not mean his is better. Sorkin's book seems asinine, in fact, with the characters just as remote and cold as before. The cast doesn't seem engaging, either. Sher's "MY FAIR LADY" revival turned one of the best musicals of all time into a cold, inhuman affair. "CAMELOT" was not great to begin with, and Sher, for all his obvious ego, can't transform it into an engaging theatrical experience. The reviews for Sher's revival were just as mixed as the original in 1960.
would you say there are better revivials of Camelot
@@marion0613_private yes there are and removing the magic and replacing it with a ridiculous tom boy Guennivere or at least from what I have been seeing the most unlikable takes of her, and the fact that Arthor doesnt really seem to care after he finds out about her and Lancelot and decides to let himself get into a relationship or fling with hs sister and another is ridiculous, along with removing Merlyn and making him a teacher and bringing in his sister and making her a scientist, and just destroying the story and the history of the musical. Watch the ones that came before this they are so much better.
@@wwozanewmusical thank you for sharing that. I'm new to the Camelot musical universe. So thank you 😊