So I finally watched the Lincoln Center "Camelot". I vaguely remember watching the old HBO version. My mother always had a crush on Robert Goulet because of "If I Ever Would Leave You". Personally I do wish Arthur was allowed to be as good a singer as Lance or Gwenevere. But the speech singing is part of the Lerner & Loewe style and particularly how Arthur's part was written, so there you have it. With this production, Gabriel Byrne was a serviceable Arthur, but not particularly musical. Marin Mazzie had a lovely rich and creamy voice. And Nathan Gunn had me from the opening notes of "C'est moi". Black leather pants -- er, yes please? For an opera singer, he did a damn good job hanging out in musical theatre. (Apparently he's quite known in opera circles as much for his body as for his voice. Can't imagine why.) He'll be doing a concert version of "Showboat" at Carnegie Hall in June, the one with Carolee Carmello and her husband.

I'm back at work. I'm feeling much better. The head still has its moments, but the doctor did say the symptoms would hang around for a week or so. Believe me, I'm not pushing it.

I taped the Tonys. I went in with zero expectations this year. I wasn't familiar with many of the nominees. "Jersey Boys" unexpectedly won my heart with their performance, which isn't really surprising. My mother was a massive Frankie Valli & the Four Seasons fan, so I grew up on that music, even more so than the Beatles or the Rolling Stones. Needless to say, she was pleased the boys did so well. I liked the "Drowsy Chaperone" too. I was amused at a Canadian group doing an old fashioned American showstopper. Part of me is glad Harry Connick's verve is rubbing off on Broadway, but I'm still always wild about his singing choices. Too much of a traditionalist in some ways...