Flashy, colorful and light and fluffy as the pastries you get at a box lunch social, Diablo Light Opera Company's "Oklahoma!" wafted onto the Hoffman Theatre stage Friday and settled in for a visit like an old friend you hadn't seen in years.

To anyone even remotely acquainted with American musical comedy, "Oklahoma!" is a show you've been on a first name basis with almost forever. The tunes are familiar, the lyrics are familiar and the story, well, you remember the story as a gentle tale of the relationship between Curly and Laurey; the trouble they get from Jud; Ado Annie, the gal who can't say no; and Ali Hakim, the Persian peddler.

Then you think you must be leaving something out. But you're not. For all its watershed properties -- the first time Richard Rodgers and Oscar Hammerstein collaborated; songs that drive the story rather than stopping the action for a musical interlude; the first complete original cast album -- "Oklahoma!" has its sensibilities set firmly in the first third of the century. The story isn't at all complex, nowhere close to the music in quality or sophistication. It's cookies and milk, rather than a full-tilt midwestern barbecue.

On the other hand, there are some wonderful characters who make the play sparkle even when the story bogs down. But the piece is just far too long, especially for contemporary audiences, and cutting some of the meandering dialog and dead-end plot points would be an act of mercy.

It would also get us to the next tune faster, which, when you come right down to it, is probably the reason why "Oklahoma!" retains its popularity.

Seeing the show in its entirety, though, is fascinating, if for no other reason than to realize just how much Rodgers and Hammerstein grew as storytellers between "Oklahoma!" and "Carousel," which they wrote two years later.

And, there is plenty to recommend this production of the R&H classic -- the cast is exuberant, the dance numbers are delightful, the songs and production numbers are beautifully crafted, and you really can't go wrong with a score that includes "Oh, What a Beautiful Morning," "I Can't Say No," "People Will Say We're in Love," and on and on from there.

Played against a set by Andrea Bechert, which creates a cheerfully rustic mood with an undertone that ranges from sunny bright to ominously dark, "Oklahoma!" is an apple pie slice of Americana that captures the innocence and resolute values of the Midwest around the turn of the century.

Everything may be up to date in Kansas City, but back home on the farm, there's not much need for anything new-fangled or sinfully citified. And that, perhaps, is why the character of Jud (John Rose) is so disturbing.

He's a hired hand at the ranch owned by Laurey (Alicia von Kugelgen) and Aunt Eller (Sonja Christopher). He's got a huge crush on Laurey, who just makes matters worse by agreeing to go to the box social with him, just to get the goat of Curly (Anthony Millette), the man she really loves.

Jud collects pictures of nude women and displays them in his room in the smokehouse. He's mean, basically antisocial and not particularly adverse to killing Curly if it means clear sailing to Laurey. That part of the story really isn't developed, but it certainly points in a direction R&H will find themselves going in future musicals, which consider both the darker and lighter sides of life.

The lighter side is well-covered here, too, by Ado Annie (Pam Koepf), Ali Hakim (Warren McClure) and Will (Rand Allen), Annie's fella. It's a wonderfully funny love triangle consisting of the gal who can't say no, the peddler and the goofy rodeo rider who has been promised Annie's hand if he can ever put together $50 and hang onto it. Koepf is particularly delightful in the Annie role, especially with her show-stopping "I Can't Say No."

Another wonderful series of moments in provided by Corinne Jonas and Brent Davi of the Diablo Ballet Company, who lead the enchanting dream sequence that closes the first act. The dance number includes most of the show's dance ensemble at one time or another, and is a real treat as it moves through a series of dances ranging from ballet to cancan.

Christopher does a great job at Aunt Eller and von Kugelgen is a charming Laurey. Tamara Zink, in the tiny role of Gertie, makes the most of her seconds in the spotlight with a fine performance. Rose, Millette, Allen and McClure are also well-cast in their roles.

All in all, "Oklahoma!" is a lot of fun.