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The Paramount Theater has an extremely broad and shallow stage, an inevitable result of a movie stage build for chorus lines and small acts. However, with Ron Steger's multiple sets, the 31 scene shifts worked almost flawlessly, and Guidi’s development of the Frances Hodgson Burnett story line proceeded apace. Ariel’s costume designs wonderfully evoke the period.

Many of the dancers in the original 1996 production, premiered at Zellerbach Hall, assumed their original roles, particularly Joral Schmalle, Michael Lowe and David Bertlin, Archibald Craven, Ben Weatherstaff and Dr. Craven respectively. One-time Oakland principal Joy Gim came out of retirement to dance a stuffy Mrs. Medford; Glenna McClintock danced a ravishing Lilias, Corinne Jung an effective Martha. Other former Oakland dancers Omar Shabazz and Denise Roman-Schmalle joined the juvenile leads Claire Lewis, Glenn Baker and Diego Rivera- Garcia who danced Mary, Colin and Dickon.

Dramatically there were some wonderful touches - Mary being dressed by her Ayah, Michelle Brown, arms outstretched; her terror and tantrums with the Brits who found her, the folded newspaper passing between Craven and his manservant, Mario Vitale Labrador,flower pots, wheel barrow and hoe in the garden scenes; the lines of candelabra-bearing servants to indicate the size and gloom of the mansion. It is a work where props, well handed, provided charming punctuation, reminiscent of Ashton's Enigma Variations.

The emotion exuded fromn this production and cast was palpable; the veterans of the cast more than matched one’s memories. Though technically retired from dancing, Schmalle produced five pirouettes and double tours effortlessly; Glenna McClintock's arabesques melted with warmth, yet were straight as an arrow. The McClintock- Schmalle partnering was particularly affecting as was Lowe as Weatherstaff.

For all the excellence of performance and production, Guidi’s choreography registered as simplistic, tending towards repetition; his frequent use of a raised arm with a hand like a Blasis drawing enclosed, rather than extended the dancers’ line. These observations didn’t seem to affect the audience, however, screaming with delight and enthusiasm. At the curtain call, Guidi appeared visibly moved by the dancers’performance and the audience reception. The entire ambiance seemed to assert that yes, indeed, Oakland Ballet is once more alive and well, if shortened in its seasonal appearances.

Michael Morgan conducted musicians of the East Bay Symphony with sensitivity, some of whom may well have played under the late Gerhard Samuels for whom the two performances were dedicated.