In short, there’s simply not
A more congenial spot
For happily-ever-aftering than here
In Camelot.

Camelot, with book and lyrics by Alan Jay Lerner and music by Frederick Loewe, was a powerhouse 1960 follow-up to their masterpiece My Fair Lady. It gave the Kennedy Administration a theme and sent audiences away happily whistling the tunes of several memorable songs.

The title song paints a vivid utopian vision of King Arthur’s domain of medieval England, but dark shadows are the musical’s real theme. Based in part of T.H. White’s humorous account of Arthur’s rise from innocent farm boy to king, Camelot is not a boy’s adventure of knightly derring-do. Instead, it’s a bittersweet tale of a romantic triangle, uneasy betrayal, and lost dreams.

The Encore Musical Theatre production is charming if somewhat constricted by the limits of the theater’s stage. Director Daniel C. Cooney brings the elements together with a nice balance of romantic yearning and soft comedy. The romantic leads spark nicely as they should. The stage doesn’t allow for the wider expanse of a more elaborate setting but set designer Sarah Tanner uses props and a simple castle courtyard to suggest the royal life.

Music Director Tyler Driskill leads his mini-orchestra through Loewe’s rich score impressively, even overcoming a minor sound system glitch.

This King Arthur is a somewhat dim man-child, haphazardly mentored by the wizard Merlin, who sees the deep goodness in his heart. The vibrant, young Guenevere is betrothed to the older king and agrees to marry him because of his good humor and natural kindness. All goes well in Camelot until the arrival of a dashing French knight.

Olivia Hernandez brings a beautiful voice, a bright smile and intelligent insight to the complex Guenevere. The young queen is sweet, outgoing, a gentle prod to her flustered husband. But she is also self-centered, dreams of lovers willing to die brutal deaths for her love and grows restless despite all the splendors of her magical kingdom. All of these emotions play into Hernandez’s performance. Her songs, playful and romantic, are beautifully performed including “The Simple Joys of Maidenhood,” “The Lusty Month of May,” and the “I Loved You Once In Silence.” She plays beautifully off her co-stars setting the mood for each scene she’s in.

The object of Guenevere’s revulsion turning to adoration is Lancelot du Lac. David Moan enters in style as, in his own mind, the perfect pure knight with his own arch self-evaluation “C’est Moi.” Moan’s timing and delivery are perfect, and his voice is strong and lusty, complete with workable French accent. Moan’s Lancelot is alternately arrogant and humble. He’s a true romantic and gets the prime romantic song “If Ever I Would Leave You” and brings it through with quiet and deep emotion.

King Arthur is played by Stephen West who has had a long career in opera and musical theater. He has a round, rich bass-baritone voice. He sings full stop a role that is often done speak-sing style. In the early scenes, he gives a fine performance of a warm, folksy, and somewhat dazed Arthur. The gap between Arthur and Guenevere is a bit wider than usual, which throws the off the dynamics of the triangle. West also plays the later scenes a bit too ponderously and his pacing in some scenes is a bit slow. But the voice comes through on “Camelot,” “I Wonder What the King is Doing Tonight,” and “What the Simple Folk Do,” in duet with Hernandez.

Tyler Lynch plays the true villain of the piece, Arthur’s illegitimate son Mordred. He gives an appropriately droll reading to the “The Seven Deadly Virtues” and seems to slither across the stage as he worms his way into the Camelot court.

Michael Szymanski is amusing as the addled Pellinore, a knight who’s been sleeping in the woods for 18 years. Jim Walke plays a frazzled Merlin as a cross between a stand-up comedian and a crazed visionary in a hideous gray wig.

The musical has one dance scene, a May Day romp. Choreographer Matthew Brennan and his dancers make a pleasant, merry diversion.

Camelot was to the Kennedy crowd a vision of better things to come, a world where America is that shining land that moves out to bring goodness to a troubled world. But, in truth, Lerner and Loewe’s musical is a cautionary tale of what can happen when passions override ideals. Encore’s production does a nice job of setting up those two visions.

Hugh Gallagher has written theater and film reviews over a 40-year newspaper career and was most recently managing editor of the Observer & Eccentric Newspapers in suburban Detroit.

"Camelot" runs 7 pm Thursdays, 8 pm Fridays, 3 and 8 pm Saturdays, and 3 pm Sundays through July 2 at the Encore Theatre, 3126 Broad St., Dexter. For tickets, go online to theencoretheatre.org.