June 10, 1993 |
Arthur and Guinevere will not reign in this Camelot - Robert Arthur will. The Tredyffrin Board of Supervisors approved Arthur's plan to subdivide the property known as Camelot at North Wayne Avenue and Crestline Road. Camelot, a 12-acre estate, has a main house with a detached garage. The subdivision plan would allow for four additional homes to be built at the site. According to township officials, Arthur has no immediate plans to develop the property. As a condition of the approval, the land was deed-restricted to prevent further subdivisions.
August 28, 1989 |
The name Forrest J. Willingham evokes a certain ring of majesty for a producer and director of musical theater, even if his namesake wasn't the noble Edwin Forrest but the Confederate Civil War general Nathan Bedford Forrest - and even if his troupe, the Songs of Broadway Company, is as indigenous to that street of dreams as a truck-and-bus company doing business in South Florida. Which is literally what it is. After 17 seasons of playing condo social halls, hotel ballrooms, country clubs, amusement parks and civic auditoriums from Fort Lauderdale to Apalachicola, Willingham has decided to "spread our wings a little" by bringing the Lerner-Loewe Arthurian opus "Camelot" to the Walnut Street Theatre for three weeks.
June 6, 1991 |
Plans for a geriatric personal-care facility on the Camelot estate in Wayne have collapsed after developer Dean Roach and the seller failed to extend their agreement of sale. Lou Colagreco, Roach's attorney, said an application to the Tredyffrin Zoning Hearing Board has been withdrawn for the 55 personal care units and 10- bed infirmary at North Wayne Avenue and Crestline Road. "We were unable to come to mutually agreeable terms for continuing the sale" when the previous agreement of sale expired in mid-May, Colagreco said.
November 22, 1996 |
For one brief, shining moment at the end of the evening, I felt a tear in my eye - and that is all I need tell you about the Camelot that opened on Wednesday at the Walnut Street Theatre. Not in my most fanciful imaginings could I have anticipated being touched by Alan Jay Lerner and Frederick Loewe's creaky retelling of the Arthurian legend. Camelot has always been the most pachydermal of musicals, a lumbering narrative with a gorgeous score cavalierly pasted onto it. And while Charles Abbott's Walnut production trims the book here and there, it still runs nearly three hours, a fact of which you are not unaware.
October 17, 1995 |
In one exquisite moment, Jackie Kennedy became the epitome of glamour and elegance - the uncrowned queen of America. - Oleg Cassini Oleg Cassini stands in awe of the woman who inspired his new book, A Thousand Days of Magic: Dressing Jacqueline Kennedy for the White House. "I wanted to create a book that was a true recognition of what she had accomplished in creating Camelot," he said recently by phone from New York. Cassini designed more than 300 silhouettes for Jacqueline Kennedy during the 1,000 days of the Kennedy administration.
May 12, 2005 |
The Media Theatre closes its season with a production of Camelot that has strong voices doing justice to its high-quality songs and well-acted characters putting color and life into this warhorse's rather plodding plot. When Camelot debuted just after the election of President John F. Kennedy in 1960, the musical - about Britain's mythical King Arthur and his idealistic vision of a peaceful and justly ruled kingdom - was adopted by Kennedy supporters as an allegory of what the idealistic new president would achieve.
April 25, 1990 |
Robert Goulet was in such high spirits last night at the Valley Forge Music Fair that as he pounded up the darkened ramp following his Act 1 exit, sharp- eared aisle-sitters clearly heard him warbling, semi-sotto voce, "Off we go, into the wild blue yonder . . . " The Army Air Corps Song definitely is not in the score of "Camelot," but the star's gentle high jinks were in keeping with the rest of the production, which is light, bright and roundly...
October 1, 1998 |
Superb music, weak book. That's the capsule opinion of Camelot that has prevailed since its Broadway debut in 1960. However, the current revival at the Merriam Theater is liable to leave the impression that the score is not really as great as everyone seems to think, and that the libretto is even worse. This touring production again stars Robert Goulet as King Arthur in Lerner and Loewe's musical adaptation of T.H. White's book The Once and Future King. Goulet has been leading periodic revisits to Camelot for the last decade, but if the flat, uninvolving presentation of Tuesday's opening night is the best he and his fellow performers can muster, let's hope this is his last time around the moat.
January 29, 1993 |
The enduring popularity of Camelot, the 1960 musical that became the final collaboration of Alan Jay Lerner and Frederick Loewe, is one of the theater's darker mysteries. For reasons that remain unclear, many people once adopted the show as a kind of metaphor for the Kennedy administration. But that Camelot is long gone, its crown jewels tarnished by the glare of time. There must be another reason why this wreck of a musical about the Arthurian legend, occupying the Forrest Theatre through Feb. 7, lures patrons the way a joust lures the incurably morbid.
October 8, 1992 |
The never-flagging popularity of Camelot has allowed Robert Goulet to age along with the Broadway musical. In the Broadway premiere, he got his big show-business break as the dashing, young Sir Lancelot. Now, 32 years later, as an older, wiser King Arthur, one of his tasks is to rein in the impetuous, energetic Knight of the Roundtable he used to portray. This is not Goulet's first time as the legendary monarch. As did Richard Harris before him, Goulet seems to be making a mini-career of the part.