, a musical based on the Arthurian legend, reunited most of the creative talent that produced , including lyricist/librettist , composer , and leading lady . had once again found a story that conformed to his favorite theme, a romantic triangle involving an older man, a younger woman, and an ardent suitor. As with and his and 's recent movie musical , the older man was played by a distinguished actor not known for his singing, in this case , who was making his musical comedy debut. wrote some melodies of limited range for , but he proved to be a much more accomplished singer than his predecessors, and , and certainly 's equal in his articulation and phrasing of the English language. This made his performances of such songs as and the title song delights. brought her own beautiful English pronunciations and pure singing to light songs like but she didn't really have a big number. , making his Broadway debut, did, the show's standout song, and he wrapped his powerful baritone voice around it. His was a career-making performance. Critics naturally compared with and often found it wanting. The criticisms had more to do with the stage production than the score, but it too is not up to the standards of the earlier work. In particular, it often seems that intends the lyrics to be funnier than they come across as delivered. For example, as is introduced with a boastful song that might have made him more ridiculous than he should be, if the words weren't swamped by 's music. And songs like recall similar and more impressive efforts by earlier Broadway lyricists such as ( ) and ), respectively. But the performers sell the songs effectively, particularly by the end, when 's melancholy reading of the reprise to the title song, with its evocation of "one brief, shining moment that was known as Camelot," moistens the eyes of every listener. [ was also released with a bonus track, a reprise of "Camelot Finale."] ~ William Ruhlmann