Aaron Sorkin Is Working On A Revival Of Broadway's Camelot

Once again, Aaron Sorkin is bringing his infamous walking and talking skills to the stage! If you thought his Broadway adaptation of "To Kill a Mockingbird" would be the end of Sorkin's theater career, you were sorely mistaken, because he's been bitten by the theater bug and cannot be stopped! Or something! Maybe he's tired of directing busy business people and just wants to write some more plays? Maybe working on an adaptation secretly rules? Whatever it is, Sorkin's next project is tackling the 1960s Arthurian classic "Camelot" for the Lincoln Center Theater. Get hyped theater kids (or quickly click out of this article, whichever feels right).

Based on T.H. White's "The Once and Future King," "Camelot" was created by Alan Jay Lerner and Frederick Loewe, who were coming off of the big hit that was "My Fair Lady," and opened on Broadway in 1960 (with a movie adaptation following in 1967). The story follows a young King Arthur, who struggles to maintain his ideals and keep a hold on his kingdom while his love Guinevere and his knight Sir Lancelot maintain a not-so-secret affair. 

Also, Merlin, the rest of the Round Table, and a bunch of other classic Arthurian characters are there. While not much is known about how Sorkin will adapt the musical, according to the Lincoln Center Theater, Sorkin's version of "Camelot" will be "reimagined for the 21st century." Do you think they'll all have iPhones? Will the Round Table be a group chat? Will Arthur find Guinevere on Tinder? Only time will tell.

One thing we do know about the "Camelot" revival is that it will be Sorkin's second collaboration with director Bartlett Sher, who also worked with him on adapting "To Kill a Mockingbird" for the stage back in 2018. Sher was nominated for a Tony Award for his direction of "Mockingbird," in fact, the play netted a slick nine nominations, including a win for Celia Keenan-Bolger who played Scout Finch.

Considering Sher and Sorkin's version of "Mockingbird" was both critically and financially successful, it will be interesting to see if they can once again make some magic happen with a very different kind of story — one that's a little less weighty and a lot more fantastical. Although, they could certainly eschew those elements if they wanted to make it sadder and weirder, a la David Lowery's film "The Green Knight," another Arthurian adaptation which was beautiful and grim in equal measure. Either way, it'll probably be a boon for theater kids and renaissance festival fans everywhere, a Venn diagram that might as well be a circle.