Camelot dir. by Bartlett Sher (review)
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Notice bibliographique
Résumé
Reviewed by: Camelotdir. by Bartlett Sher Kevin J. Harty bartlett sher, dir. Camelot, New York's Lincoln Center 2023 revival of the Alan Jay Lerner and Frederick Loewe 1960 musical with a new book by Aaron Sorkin. Previews from 03 9; opening night: 04 13; running time: 2:45. Arthur's back!—not because England finds itself once again in peril, but because Aaron Sorkin, who has revised Alan Jay Lerner's original book for Camelot, thinks America is. Camelothas always been a problematic musical. Even T.H. White, whose The Once and Future Kingwas the musical's source, recognized the inherent problem with the show: it's a musical tragedy, not a musical comedy. The story of the original 1960 production is legendary. The show opened in Toronto on its way to Broadway. The cast was notable. Richard Burton—he of the speaking voice like no one else's—was cast as Arthur. Julie Andrews played Guenevere. Robert Goulet, making his Broadway debut, was Lancelot. Roddy McDowell appeared as Mordred. On opening night in Toronto, the show ran twice as long as it was supposed to—testing the bladder control of everyone behind and in front of the curtain. Noel Coward is alleged to have quipped that the Canadian tryout of Camelotwas 'longer than Götterdämmerung… and not nearly as funny!' Otherwise, reviews were positive, but with the universal comment that the show needed drastic editing. Alan Jay Lerner wrote the original lyrics and book, which were paired with the music of Frederick Lowe; Moss Hart directed. Soon into rehearsals, Lerner was hospitalized with a bleeding ulcer, and Hart had a heart attack. (One must wonder if the show is cursed: Alan Sorkin suffered a stroke while working on the rewrite of Lerner's original book for the current Lincoln Center production.) The show moved to Boston, and cuts were made; the show opened on Broadway on 3 December 1960, and more cuts were made—and would continue to be made during the long Broadway run. The official Broadway cast album includes two songs subsequently cut from the show: 'You May Take Me to the Fair' and 'Fie on Goodness.' Reviews of the Broadway production were mixed, but a showcase of songs from Cameloton The Ed Sullivan Showcaused ticket sales to skyrocket, and the show ran for 873 performances, and won five Tony Awards. Revivals were staged in London and elsewhere, with the show returning to Broadway in 1980–1981 and 1993. A film version directed by Joshua Logan was released in 1987 with Richard Harris as Arthur, Vanessa Redgrave as Guenevere, Franco Nero as Lancelot, and David Hemmings as Mordred. Camelotwas assured a lasting imprimatur when Jacqueline Kennedy [End Page 191]allowed in an interview in Lifemagazine that the musical had been among her late husband's favorites. The current Lincoln Center production is directed by Bartlett Sher whose restaging of musicals such as South Pacific, My Fair Lady, and The King and Ihave rightly been greeted with critical acclaim. Andrew Burnap's Arthur has less gravitas than Burton's or Harris's, but then he is considerably younger than either actor was when each took the part. Burnap's Arthur seems less thoughtful, flightier—he is a boy king on an unsteady path to manhood. When Merlyn (Dankin Matthews) dies, Arthur wonders 'what the hell am I supposed to do now!' Phillipa Soo's Guenevere is more feisty than either Andrews' or Redgrave's. She knows how to keep Arthur in place and seemingly on a short leash, and she is also smarter than he is. She puts a slightly cocky Arthur seeking to impress her in his place when she points out that he was only able to pull the sword from the stone because it had been loosened for him by all those who had previously tried to do so. Jordan Donica's Lancelot bellows, and his deep baritone takes over the stage when he first appears climbing up previously invisible stairs at the back of the stage singing 'C'est moi!' He is a man to Arthur's boy, and their contrast will only...
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,011 | 0,010 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découle