Chicago Tribune - Highly Recommended
"...The genuinely revisionist new production at the Drury Lane Theatre — the local debut of the New York-based director named Alan Souza and authorized by Liza Lerner, the keeper of the flame for musicals by Lerner and Loewe — ponders a rather different question: Wither "Camelot" for a generation seduced by frozen dystopias and "Game of Thrones"?"
Chicago Sun Times - Highly Recommended
"...It says a great deal that “Spamalot,” the goofy, satirical Monty Python riff on the Arthurian legend, has eclipsed “Camelot” in recent years. But the new Drury Lane Theatre Oakbrook revival of the show — directed by Alan Souza, with dramatically updated orchestrations by Matt Aument and music direction by Ben Johnson, some neat technological tricks, and a cast notably younger than those traditionally assembled for this show — might very well put it back in the spotlight."
Chicago Reader - Somewhat Recommended
"...Drury Lane's revival of Alan Jay Lerner and Frederick Loewe's 1960 musical about King Arthur and his court seems to have everything going for it—strong direction and choreography (Alan Souza), a terrific cast, great costumes (Maggie Hofmann), and a brilliant set (Kevin Depinet), all to go with a wonderful score full of memorable tunes. And Christy Altomare is everything you'd want in a Guenevere—charming, vivacious, and with a voice to die for. Likewise, Travis Taylor's Lancelot is very much the kind of knight—filled with equal measures of chivalry and testosterone—who'd sweep a queen off her feet. Sadly, it's all for naught: the cracks in Lerner's famously misbegotten book still show. The story lurches along, and parts of the show feel like a misfiring SNL sketch."
Time Out Chicago - Highly Recommended
"...Director Alan Souza, with approval from the Lerner estate, has significantly streamlined the notoriously bloated original into a sharply focused two and a half hours, trimming excess pageantry and condensing some of the more repetitive songs (turns out Guenevere's "Take Me to the Fair" can get its point across without reiterating it three times)."
ShowBizChicago - Somewhat Recommended
"...While most will probably find this a revolutionary and great Camelot if you are one of those who cherishes the beauty of the original then I suggest you stay away. You will be disappointed and leave feeling shortchanged. I did."
ChicagoCritic - Recommended
"...The costumes and feel of the Drury Lane Theatre production emphasize the fantasy element of the mythical fable that reminds me of A Midsummer Night’s Dream complete with a touch of the forest fairies. This revised Camelot blends the new folksy, percussion-oriented new orchestrations (by Matt Aument) that gives the Frederick Loewe music a fantasy sound versus the more traditional score, filled with opulence. The entire production is broad, adventurous, and action-packed with wily magicians, chivalrous knights and a headstrong queen. Sentimentality and fairy tale kitsch is lacking here."
Chicago Stage and Screen - Highly Recommended
"...On a grand scale, this production of a timeless classic prospers and leaves you with a triumphant feeling of honor, power, and passion, and is surely not to be missed. This was a very successful production all around. Particularly if you enjoy the medieval renaissance and love a good romantic plot, then Camelot is highly recommended. Even if that’s not your cup of tea, you’re guaranteed a night of exhilarating action and powerful music."
Around The Town Chicago - Recommended
"...The ensemble is young and energetic with some dance sequences that are rough and ready. Also very impressive was Weir coming back as Pellinore, one of Arthur's Knights. Weir brings a new flavor to this character, one that truly stands out. The musical numbers in "Camelot" that are well remembered are "If Ever I Would Leave You", "How To Handle A Woman", "Follow Me" (a solid production number in the forest (beautifully done by Keewa Nurullah),,"The Lusty Month Of May" and of course the title song, "Camelot". The orchestra, conducted by Ben Johnson brings the music to life and the new orchestrations are terrific. In fact, the shortened version of the story works making what used to be a boring musical into one that is worth viewing.I must say that Maggie Hoffman and her crew did an excellent job with the costumes, although in some cases, not as regal as I would have expected."
Chicago Theatre Review - Highly Recommended
"...In addition to these technical achievements, John Tovar’s finely executed and detailed fight choreography provides additional power and excitement to this production. Not the least of which is a spectacular, realistically played-out battlefield scene, during which Souza has smartly elected to show Lancelot’s army at war with Arthur’s men, rather than simply telling about it in song. The effect is further enhanced by Fiskness‘ terrific lighting when, as the lyrics say, “the sky turned to red”. The overall power of this “one, brief shining moment” is reason enough to pay a visit to this “Camelot.” It is simply an exceptional, re-imagined, breathtaking production that fans of this musical should not miss."
Chicagoland Theater Reviews - Somewhat Recommended
"...The Drury Lane “Camelot” lacks dramatic energy, at least until all hell breaks loose late in the show. It fails to seriously explore and illuminate issues the story raises about idealism, loyalty, and humanity’s lust for war in conflict with honor and self-sacrifice to a greater good. Musical numbers suffer from the absence of pageantry and imaginative choreography. The musical was adapted from T. H. White’s great novel “The Once and Future King” and maybe its story belongs between the covers of a book instead of the musical stage."
NewCity Chicago - Somewhat Recommended
"...If you are a fan of the golden-age of musicals, if you haven’t been able to give up your LP of the original cast recording of “Camelot,” with Julie Andrews’ soaring soprano seeming to possess no register changes and making every word clear as a bell while spinning silvery phrases, Robert Goulet’s burnished baritone ripping your heart out as the knight who couldn’t leave, and Richard Burton, speak-singing his way through the pivotal role with a purr, saving his full-throated magnificence for hurt and fear, and if you are willing to accept the challenges of over-long choral numbers telling stories of events happening off stage, and an awareness that some beloved music had to be cut after the show opened for the audience’s (and the player’s) bladders not to burst in exchange for simple joys, then director Alan Souza’s production at the Drury Lane Theatre will make you weep in the wrong way, and you should stay home, put on that old LP, and let Julie save you."