(Chris Jones’s article appeared in the Chicago Tribune, 11/7.)

Given its inexorable associations with the glamorous Kennedy White House and such formidable but distant personas as Richard Burton and Julie Andrews, Alan Jay Lerner and Frederick Loewe's exquisitely scored "Camelot" now usually comes with a retro patina, a stiff echo of an age long gone.

And I speak not of King Arthur's Britain, but of 1960.

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"?


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