That the Camelot Theatre Company would present Lerner and Loewe’s familiar musical "Camelot" is probably just fate. But that their version would prove so engaging speaks to big talent within the members of Talent’s small community theater.

Livia Genise’s vision is faithful to the classic musical we all know. But Genise infuses the traditionally male-dominated play with a bit more whimsy and a lot more female magic a la the lesser-known book "The Mists of Avalon" — Arthurian legend from the distaff point of view.

If some of the costumes are a bit ill-chosen and ill-fitting, and some of the player’s accents are more Scottish, Irish and Basque than English and French, and the four-legged cast member clearly has stagefright, these are small quibbles in an otherwise impressive production.

Jeff Golden as King Arthur is convincing as a man and a monarch. Golden performs his musical numbers with great heart, if not complete confidence. He shouldn’t sweat his solos. He sings better than his two most famous predecessors — Richard Burton and Richard Harris. Especially in the two-part harmony close of "What Do The Simple Folk Do" with Guenevere — played by the silver-piped Renee Hewitt.

Hewitt’s Guenevere is both winning and worrisome. When the hemmed and hawed royal princess gives herself over to her inner drama queen she sweetly entices. In "The Simple Joys of Maidenhood" Hewitt sings — in all youthful innocence — her fateful wish that wars be fought over her.

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The winsome young queen — tragically dressed in wash-me-out white except for one stunning aqua dress — teases wickedly in "Take Me To The Fair." Hewitt’s soaring soprano leads the play’s cast of knights in taunting Lancelot and defying Arthur.

Paul R. Jones plays the long-suffering sage Merlyn (and the bombastic and befuddled Pellinore who drags his poor miscast pooch "Horrid" around the stage.) Just as the mists of Camelot’s future are about to clear for the wisecracking wizard, Heather Lane, as Merlin’s personal enchantress Nimue, sings her achingly beautiful version of "Follow Me."

The siren’s haunting song pulls Merlin to his foretold fate. Leaving those in Camelot to find their own. And the audience wishing he wouldn’t go — and that Lane had another solo.

Don Matthews as Lancelot is more self-deprecating than swaggering in "C’est Moi." No bragging knight like Robert Goulet, Matthews’ sometimes seems more bemused than bewitched in his scenes with Hewitt. A bit more smolder between the two lovers would help the audience better appreciate the unfolding triangle of torment.

Still, Matthew’s kinder, gentler Lancelot plays well with his smooth baritone in an effortless version of "If Ever I Would Leave You."

As the years pass, the realm revolves in relative peace. Then along comes trouble in the form of Arthur’s half-warlock bastard son, Mordred — out to claim his birthright. When Tony Laughlin and his henchwomen meet up with one of the many ever-giggling invisible faeries who flit in and out of most scenes, sickly green and red lighting spills over the evil ones’ faces as they proceed to rip her little wings off.

Laughlin’s portrayal of Mordred as part Alfred E. Neuman and part Satan is hilariously twisted. "The Seven Deadly Virtues" serves as Mordred’s vocal appetizer. Laughlin feeds us the main course of poison with Arthur’s knights in a belt-it-out rendition of "Fie On Goodness" — and down with Camelot.

Musical Director Jennifer Schloming’s vocally strong ensemble best demonstrates their depth in "Guenevere" and "Camelot." The cast’s harmonies still ring off the walls when Golden bids young Jeffrey Star tell the tale for future generations.

As the lights came up and the final bows were made, it was clear the audience felt Genise and her crew were able to make a little magic Friday night. And isn’t that what theater — and Camelot — is all about?

If you go

When: 8 p.m., Monday, Friday, Saturday; 2 p.m. Sunday. Shows continue through Jan. 8

Box Office: 535-5250

For more information: www.CamelotTheatre.org

Reach reporter Sanne Specht at 776-4497 or e-mail sspecht@mailtribune.com.