A less than royal singing voice knocks Lou Diamond Phillips off his throne in “Camelot,” playing at the Hippodrome Theatre.
Phillips, known for his breakthrough role in “La Bamba,” comes to the touring production of Lerner and Loewe?s “Camelot” with a 1996 Tony nomination and a lengthy screen, stage and TV career. However, “Camelot” audiences only get a glimpse of the veteran?s potential.
The musical opens with an anguished Arthur on the eve of a war incited by his illegitimate son as well as Guenevere and Lancelot?s illegal passions. Arthur?s magical mentor Merlyn loses his ability to see the future just as Arthur?s ill fate arises.
“Camelot” bears the famous Lerner and Loewe?s attribution, but Alan Lerner?s children, Liza and Michael, noticeably altered a handful of lyrics and scene sequences in the national touring production.
Though Phillips can deliver a rousing monologue, especially during the inspiring finale, for every enjoyable speaking moment comes a musical number that can?t hide his voice?s boundaries. He lacks the rich and tender tones needed to negotiate difficult notes, particularly those in the endearing classic “How to Handle a Woman.”
Matt Bogart, however, as the pious, dashing French knight Lancelot, commands a full, enveloping voice, tailor-made for “C?est Moi” and “If Ever I Would Leave You.” Beyond his vocal abilities, Bogart continues to impress with his genuinely funny performance. Bogart proves “Camelot?s” love triangle can be timeless, not tiresome, when sharing the stage with the consummate professional Rachel de Benedet as Guenevere. Her soprano voice, clear and consistent, more than makes up for “Camelot?s” weaknesses.
Beyond Phillips? voice, the kinks in “Camelot?s” armor include the time itwastes on lackluster scenes such as the dance sequence in “Lusty Month of May” and not capitalizing on the brilliantly tragic aspects of the story line.
“Camelot?s” strong suit is knowing when to surge with song and when to let silence dramatize the situation. Even 30 rows back, you can feel the steamy tension between Bogart and Benedet thanks to suspenseful silence during the lovers? first kiss. Their impassioned embraces and piercing glances continue to intensify “Camelot?s” appeal but can?t eradicate the thought maybe “Camelot” should be forgot.
IF YOU GO
?Camelot?
WHERE: Hippodrome Theatre
12 N. Eutaw St., Baltimore
WHEN: Through April 6
TICKETS: $25 to $70
INFO: 410-752-7444
