Dance Review : Oakland Ballet Dances ‘Giselle’ in Fullerton

“Giselle” is a bit of a stretch for the Oakland Ballet. But that is healthy.

The Northern California company, known for revivals of 20th-Century masterworks, first ventured into 19th-Century Romanticism last October.

Company artistic director Ronn Guidi sought out Frederic Franklin, former Ballets Russes de Monte Carlo principal danseur and later ballet master of that company. Franklin had also helped create the bayou “Giselle” for Dance Theatre of Harlem.

It was his staging (transferred back to the traditional Rhine Valley setting) that the Oakland forces brought to Plummer Auditorium in Fullerton on Saturday.

Franklin’s version utilized a great deal of mime, and the Oakland forces looked no less uncomfortable and unconvincing in this aspect of the ballet than do other American companies.

Generally, however, the dancers were not technically secure enough to mask the hard work and effort. They had a tendency to rush through movements, blur endings and simplify challenges. Adding to the problems was the deadening, muddy taped accompaniment, with the volume for some inexplicable reason turned way down low.

In the title role, Erin Leedom exhibited shy, warm charm and a thought-out characterization notable for the frightened, broken pathos in the Mad Scene. Technically, she was speedy in attack, steady in balances and promising in lyrical phrasing. But she was obviously taxed by the adagio requirements in the second act.

At best, Brad Bradley, her Albrecht, was boyish and impulsive, though technically very weak, with some especially bad landings and poorly executed cabrioles. Worse, dramatically he often seemed to have no clue of what the role entailed and projected no credible emotion.

Ron Thiele made a sober, strong Hilarion; Allyson Deane a concerned Berthe. Abra Rudisill and Michael Myers danced cautiously in the Peasant pas de deux. Joy Gim was a chilling Myrta, though also rough in bourrees and somewhat insecure in balances.

There were only 12 Wilis, not counting Myrta, but they were disciplined, well-drilled and responsive to the dramatic events. The royal party of only three seemed more scanty than necessary, although Susan Taylor made an imperious Bathilde.

Set designer Ron Steger created handsome, Romantic vistas. The attractive autumn-colored costumes were by Campbell Baird and Christopher Thomsen.