And, although the show runs a full three hours, director Eden-Lee Murray assures that it moves well and that the underlying dramatic action is not lost.

Still fresh after a sound performance as Cervantes in ACT's "Man of La Mancha" earlier this season, Bryan Bender is a convincing Arthur, singing well and communicating the ethical dilemma that tortures the king who sees his queen falling in love with his best friend.

That central character element is beautifully captured at the end of Act One, when Arthur is left alone in the castle's great hall. Surrounded by burning candles and spotlighted on the regal throne, he pledges to remain civilized against whatever path the royal triangle may take. It's a stunning moment in which character, music and stage effects come together perfectly.

Tina Shelton is a lovely Guenevere, grasping the role early and developing it with careful control throughout the evening. Although we might wish for other choices in costuming and makeup to underscore the character's youthful immaturity in her early scenes, Shelton's lovely voice and character shading makes Guenevere stand out in full relief in Act Two. We get the clear understanding that her better sense is losing out to an emotional force she can't fully control.

Matthew Pennaz is excellent as Lancelot. He's got the French accent and the character's self-righteousness down pat, delivers the romantic ballads, and is convincing as a reluctant love-interest.

Minor roles also are neatly executed. David Farmer is the distracted magician, Merlyn. John Hunt is wonderfully warm and appealing as crusty old King Pellinore. And Dion Donahue drips with delightful malevolence as Arthur's illegitimate son, Mordred.

Musical director Daren Kimura gets good volume and pleasant support from the large stage orchestra and singing chorus and does full justice to the Lerner

and Loewe favorites, "C'est Moi," "If Ever I Would Leave You" and the inspiring "Camelot" title song.

Stage designer Tom Giza has a field day with imposing set elements that magically appear ahead of their musical bridges. In a display of rare confidence, Lancelot travels to Camelot on a wooden ship, while the distant castle moves across the rear of the set.

Lighting design by John Parkinson locks in the magic with invisible castles, a burning at the stake, and shadowy castle rooms that really look like they're being lit with candles and fireplaces. It's a dreamy, Technicolor lighting plot that draws attention to itself but at the same time feels exactly right for each scene.