DOWNEY — The language is almost as elegant as the songs and dances in the Downey Civic Light Opera presentation of “My Fair Lady,” playing weekends through Oct. 18 at the Downey Civic Theatre, 8435 E. Firestone Blvd.

Based on George Bernard Shaw’s stage play “Pygmalion,” the musical by Alan Jay Lerner and Frederick Loewe concerns professor Henry Higgins, played byJoseph Culliton, who makes a bet with Col. Pickering, played by Richard Gould, that he can transform a slum girl, Eliza Doolittle, played by Charlotte Carpenter, into a high society lady by teaching her proper language.

The original Broadway cast in 1956 featured Rex Harrison as Higgins and Julie Andrews as Eliza Doolittle. Culliton and Carpenter play the roles to a T, with Carpenter particularly noteworthy as the Cockney girl who wants to be a lady with her acting and singing.

Culliton and Gould display very elegant English in their conversations and Culliton’s effort to teach Carpenter proper grammar. Carpenter has the harder task but transitions from Cockney to English with only one relapse as a one-word Cockney note sneaks into a song, apparently by accident.

But her singing, which is all in very clear English, makes up for it. She has a great voice regardless of the accent, shining on “Wouldn’t It Be Loverly?” “The Rain in Spain,” and “I Could Have Danced All Night.”

Another great voice, with all words in the Cockney mode, belongs to George Champion, playing Eliza’s father, Alfred Doolittle. His big numbers are “With a Little Bit of Luck” and “Get Me To The Church on Time.”

A good tenor with a small part is Jason Marquez as Freddy Eynford Hill, who has one big number, “On the Street Where You Live.”

Choreographer Gitana Van Buskirk has put together some sprightly dancing, especially by Champion and his Cockney street friends and chimney sweeps, reminiscent of Dick Van Dyke in “Mary Poppins.”

The pit band, directed by Eddy Clement, offers just the right musical accompaniment to the songs and dances.

But an interesting dance number done by the ensemble called the “Ascot Gavotte” spoofs the reported calm manner and unhurried personality of the upper class at the Ascot Race Track. (The only one who gets excited is Eliza).

The play is produced by Marsha Moode, executive director of the Civic Light Opera.

Once again Moode has put together a talented group of performers spanning the generations, from two grade-school-aged children through a group of young and adult singers and dancers and even some senior citizens.

Moode directs seven lead characters, 12 background characters and the ensemble of 20. She sees to it that all get their recognition in the program.

Shaw’s stage play was based on the Greek myth of a king, Pygmalion, who falls in love with a statue he has made. In Lerner and Loewe’s musical version, Professor Higgins is cold toward his “creation” throughout the play, treating Eliza like a nonhuman. She in turn plainly shows she is in love with her mentor.

It’s only when Eliza has had enough and leaves that Higgins realizes, during “I’ve Grown Accustomed to Her Face,” that he is fond of her as well.

In the end, when Eliza comes back to him, Higgins becomes a chauvinist once again, but Eliza knows his real feelings. Did she win, or did he?

“It’s a tie,” Moode said. “The audience wants them together. It’s a match made in the minds of the audience.”

Decide for yourselves by seeing the musical.

Tickets are $35 for orchestra seats and $30 for the balcony. Tickets for children 12 and under are $15. Tickets for students with identification are $25.

Information: (562) 923-1714.