Dorothy (Madeline Trumble) approaches a rusted Tin Man (Robert Sholty) in the Diablo Light Opera Company's production of "The Wizard of Oz." (Jose Carlos Fajardo/Contra Costa Times)

LIKE THANKSGIVING dinner and Independence Day fireworks, "The Wizard of Oz," is an American tradition.

And, just as there are those who want nothing more than a dollop of dressing or a couple of sparklers, some people are perfectly happy with a single yellow brick, rather than a whole road of 'em. So, from the top, I must confess, I have never been in the thrall of Dorothy and the Wizard. One viewing of the movie was a test of patience, and I could live my life perfectly happy if I never heard "Lions, Tigers and Bears, (Oh My)," ever again.

That said, I must also confess there were plenty of theatergoers, young and old, who were thrilled with Diablo Light Opera Company's production of "Oz," which opened Friday at the Lesher Center. The girl sitting in front of me was dressed in a Dorothy costume and a small voice behind me a couple of rows was earnestly explaining the plot to her mother as the show rolled along.

So, if you are a fan, the DLOC production gives you a rollicking ride to the Emerald City. The production has everything you expect from the show, which, in addition to a tradition, is also something of a ritual -- Glinda the Good Witch (Judy Ryken, hampered with Munchkins in her microphone throughout most of the show) looks sweet and good; the Wicked Witch of the West (a delightfully evil Pam Koepf) is the quintessence of nasty; Dorothy (Madeline Trumble), channels a young Judy Garland; the Tin Woodsman (Robert Sholty) is dependable as a wind-up alarm clock; the Scarecrow (a nimble James Koponen), has his Ray Bolger moves down; the Cowardly Lion (David Collins), mugs in homage to Bert Lahr -- in other words, what you want is what you get.

On the other hand, I can't help wondering what an "Oz" production might be like if the movie weren't such a landmark in our cultural history, and production companies approached it as a musical blank slate. Certainly the DLOC inclusion of "The Jitterbug" (a number deleted from the film), offered a chance to see a fresh take on "Oz" material, and the tune was an absolute show-stopper, cleverly choreographed by Sheri Stockdale, and directed in a free-swinging style by Byron Peters. To me, anyway, that was an indication there really is more than one way to skin this Winkie.

In fact, the production numbers are what really worked best in the show. Dorothy's arrival, by tornado, into Oz (the "Ding, Dong, The Witch Is Dead," number), is a stunning piece of creativity, enormously entertaining, and quite clever as the Munchkins zip around the stage. The Munchkins are kids, operating at full height, and adults, scooting about the stage on some kind of wheeled vehicles. (Perhaps the bottom halves of office chairs?) The song is genuinely funny and probably the single most innovative scene in the show.

Costumes are also quite innovative, particularly those of the wheel-propelled Munchkins. The only clinker throughout is the poor Tin Woodsman, who looks like he is wearing the Oz equivalent of a hazmat suit.

Music is performed well by the orchestra, conducted by Cheryl Yee Glass.

DLOC has stressed just how much this is a family show, and certainly it is an excellent play to use for introducing youngsters to the theater. The production touches very lightly on the darker parts of the story, so even the most impressionable of children won't lose a moment's sleep over this one.