Alan Jay Lerner and Fredrick Loewe's vintage musical "Camelot" is a regal extolling of right, honor and justice in a society -- worthy concepts for any age and generation.

The national touring company of the musical, currently playing the Lied Center for Performing Arts, is a large-scale, attention-commanding production, with first-rate vocalists as well as some excellent costumes and impressive lighting.

However, the 2 3/4-hour production displays some niggling elements that prove somewhat unsettling throughout the performance.

Based upon the legend of King Arthur and the Round Table, as presented by T.H. White's "The Once and Future King," the musical begins with a young and insecure Arthur (Mark Harapiak) meeting and wedding the lovely Guenevere (Jayme Armstrong).

Arthur's dreams of a more civilized society lead to the concept of the Round Table where courtesy and chivalry are paramount.

To the Table comes the frenchman Lancelot (Gabriel Burrafato) who becomes Arthur's best friend, but who also falls in love with Guenevere.

Certainly "Camelot" is not a tragic musical -- Lerner and Loewe included plenty of comedic relief in the venerable piece.

But too often, scenes seem superficial and inappropriately humorous.

Also, for most of the 90-minute First Act, there is a disconnect between the musical's leads - character development is limited and the songs are performed in a very presentational manner.

Part of the way the songs are presented is due to the style in which musicals were written more than 45 years ago, but there is also something just not clicking with the actors.

All three leads, as well as the rest of cast, brandish singing voices that are powerful and full of vibrancy.

But dramatically Harapiak and Burrafato are almost caricatures of their character, until finally settling into portrayals with some substance by the end of the first act.

Among the leads, only Armstrong provides an equally balanced and consistent performance that exhibits strong theatrical savvy and an excellent voice.

Quality support comes from William Fisher as King Pellinore, an old friend of Arthur's.

Musical highlights come from Harapiak ("How to Handle a Woman") and Armstrong ("The Lusty Month of May," "I Loved You in Silence") and both on the musical's title song.

To be sure, "Camelot" is a bit of a tarnished old warhorse of a musical, but it deserves a little more polishing from its current company.