REVIEW BY AMY WENGER, Times-Union Correspondent

The summer season of Wagon Wheel Theatre is well under way, and the first two shows gave actors and audiences alike a chance to relish a wide range of comedic talents.

Now the emotional depths of the company are more fully expressed and realized in a more traditional spectre, that of the renowned presentatin of "Camelot," which made its debut Wednesday at the playhouse.

Those who consider themselves well-educated in a theatrical realm hardly need a detailed introduction of this popular musical, which made its Broadway debut in 1960. The tale recounts the trials of King Arthur, his beloved queen Guenevere, and Sir Lancelot du Lac, and the lives they spin out in the passionate ambience of the kingdom of Camelot.

Upon meeting the young king Arthur, played brilliantly by Dan Zakarija, it soon becomes clear that the dubious honor bestowed on him unleashes conflict. When he meets a young Guenevere (Heidi Kettenring), she appears alternately enchanted and repulsed by him. Arthur's biggest challenge comes not only in winning Guenevere's heart, but in securing her love for all time as his queen and wife.

Enter Lancelot (Ethan Watermeier), who comes to Camelot on the premise of becoming a knight and garnering his own recognition in Arthur's reign. As the two men become friends, the stage is soon set, literally, for an ultimate betrayal. The scenario tears down Arthur to his very soul, and creates tragedy for Guenevere and Lancelot as well.

As both gentlemen compete for the love of Guenevere, both actors exquisitely allow the audience to be carried away on a paradoxical journey, as we secretly wish for the plights to be resolved into a joyous scenario, but we know full well is something never to be.

The plot is compounded by the arrival of a conniving and vain creature called Mordred (Rod Thomas), who has dark connections to the throne and will stop at nothing to earn what he believes is his rightful succession. Thomas is smartly cast as the smarmy, sordid family tie to King Arthur.

Watermeier, as Lancelot, brings to his role not only a singing voice that cascades a commanding baritone, but somehow elicits a heartfelt sympathy as he pines for the love he cannot truly have. His serenade to Guenevere, "If Ever I Would Leave You," stirred many in the audience to the point of tears.

But perhaps one of the cast's most intriguing portrayals comes from Kettenring, whose incarnation of Guenevere ranged from heights of a dreamy young woman searching for trueness of her heart, all the way to the sharp and witty, even playful foil to Arthur. Some of the show's musical high points come from her beautiful renditions of "Before I Gaze At You Again" and "I Loved You Once In Silence."

Words of praise should not go unspoken for the supporting cast, many in number, who provide strong harmonies and beautifully choreographed enhancements. An extra note of recognition should be extended to the winsome performances of Brad Norman, who deftly juggled two roles: Merlyn the court magician and the good-natured gruff, King Pellinore.

"Camelot" also features flourishes that would seem unlikely in such a small venue, but that are executed with extreme panache. Lighting that ebbs and flows with the dramatic nuances, along with flowing echoes of dialogue in select scenes, are breathtaking accents. Here and there, the atmosphere was even punctuated with a filter of smoke, which was also effective.

Those technical touches come with thanks to the efforts of Chib Gratz, Marc Doshi, Beth Brawley, Chris Pollnow and Michael Higgins.

More appreciative kudos to the directing team of Tony Humrichhouser and Beth Bewley, as well as to Martin Bowman for spectacular costuming.

"Camelot," as originally penned by Alan Jay Lerner and Frederick Loewe, has seen a fitting and glorious reproduction on Wagon Wheel's stage. The opportunity to see this production will conditnue through July 13. For more details, call 267-8041. [[In-content Ad]]