that is about as old as the country itself. The state Capitol previously had a similar box placed inside the structure back in 1914. ![]() This box was a time capsule, stocked with items meant to provide a glimpse of life at the moment for future generations to view. Spencer Cox and a handful of other elected state leaders gathered outside the state Capitol to finish filling a small metal box before it was inserted back into the Utah Capitol earlier this month to be opened a century from now. Reading or replaying the story in itsĪrchived form does not constitute a republication of the story.Įditor's note: This article is a part of a series reviewing Utah and U.S. Camelot! The sound of that word evokes in many Americans an instant remembrance of the opening notes of the musical's title song, coupled with a poignant feeling of loss for what was once a golden time in America.Only for your personal, non-commercial use. Kennedy's assassination, author Theodore White was told by his widow, Jacqueline: “At night before we'd go to sleep, Jack liked to play some records and the song he loved the most came at the end of this record. The lines he loved to hear were: 'Don't let it be forgot, that once there was a spot, for one brief shining moment that was known as Camelot'. This sense of innocence lost and hope blighted is echoed in the musical's story.Ĭamelot is based on T.H. White's novel, The Once and Future King, and focuses on the love triangle of King Arthur, Queen Guenevere, and Sir Lancelot, one of Arthur's greatest and most trusted Knights of the Round Table. Since all three principals are equally appealing, this limitation of storyline has a bittersweet effect. Indeed, the evil of Mordred and the loss of Arthur's kingdom seem merely to support this doomed love story. Lerner and Loewe's final success (after Brigadoon, Paint Your Wagon, My Fair Lady, and Gigi) opened at the Majestic Theatre in December 1960 and ran for three years, finally closing in January 1963 after 873 performances. Directed by Moss Hart, it starred Richard Burton as King Arthur, Julie Andrews as Guenevere, and Robert Goulet as Lancelot.Ī glorious example of the “non-spectacle” musical, Camelot's historically accurate costumes and simple sets allow the audience to concentrate on all the emotion poured into the songs and the characterizations. More than the love story played out, Camelot is an appealing symbol of hope, of truth, and of loyalty to another above self. In Deconstructing Harold Hill, Scott Miller tells us: “Alan Jay Lerner wrote that at its core it contains the aspirations of mankind, and despite its shortcomings, that's what keeps the show from crumbling” (, 2). Miller finds fault with the play's structure: “Act I seems to be almost a romantic comedy. ![]() ![]() Act II seems to be a reality-based romantic tragedy” (3), but I think that this structure is why audiences make such a link between the musical and the Kennedy years, from sunshine to rain, laughter to tears-as the musical changed, so changed the nation, a case of life imitating art.
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