The "oos" and "ahs" began the moment dancer Girardo Gil flew threw the nursery window in City Ballet of San Diego's Peter Pan. Now in his fifth season with the company, Gil has danced numerous principal roles, but who knew he could be so animated and aerial? As Peter, Gil was a handsome renegade and soared over the stage with remarkable ease, suspended by almost-invisible wires.

Gil's portrayal of the boy who refuses to grow up was athletic and believably self-centered. His lack of commitment drove his sidekick crazy. Sizzling in polished pointe work and pantomime, Janica Smith was a naughty Tinker Bell with a jealous streak. Seductive yet childish, she refused to sprinkle pixie dust on the Darling children. Gil simply hoisted her up and shook the dust out of her. And her snitch character really came out when she made a deal with Captain Hook.

Oblivious to Tinker Bell's rage, Ariana Samuelsson was a perfectly doting Wendy with youthful sweetness. She sewed Peter's shadow and read bedtime stories, but was eager to escape the confines of Victorian culture and kiss her new magical friend, Peter. The excitement began when she flew off to Neverland, along with her scrappy brothers John (Patrick Lahey) and Michael (Kate Arnson, Megan Nichols alt.). Their pillow fights, baggy pajamas, and pirate battles prompted delightful squeals.

But the real reward was seeing the Darling children kick and cycle their legs in flight and Peter land effortlessly to dance again. Flying by Foy directed the flying magic - with well-hidden harnesses and wires as thin as fishing line - that had dancers rise, change direction and land without a hitch.

Choreography by Bruce Steivel also included lively dancing and memorable characters. As Nana, the dog, Emily Pardington wiggled and wagged a very hairy costume with aplomb. John Nettles, as Mr. Crocodile, nearly stole the show as he rubbed his hungry belly and tangoed with Captain Hook, a dolt in red velvet and dreadlocks danced by Kevin Engle. The pirates offered the strongest pure dance sequence. Led by Geoff Gonzalez (who also danced Mr. Darling), the four men were spot-on in unison clogging with yo-ho appeal.

J.M. Barrie's novel Peter Pan has been performed as a children's play since 1904. If you dig deep, you'll see that the Darling family is a metaphor for social order, while Peter, the Lost Boys and pirates embody anarchy and deviance. But forget the play's social allegories, the Disney movie, and thoughts of Michael Jackson. And stop wondering why Mary Martin was cast as Peter. Peter Pan is the ideal vehicle for a children's ballet.

Like other versions, this one had an odd recorded score. Music by Thomas Semanski was a melodramatic electronic mix of pulses and a few melodies. The water splash effects were fun, but for those expecting a live orchestra, the score was often grating. Still, City Ballet's Peter Pan was a splendid production for children with some fine dancing, and colorful sets (including a treehouse and giant slide) and costumes by Catherine I. Irving, courtesy of Eugene Ballet. It ran one hour, 45 minutes, with one short intermission, which was just right for a wiggly crowd. A savvy young boy in the lobby exclaimed, "I liked the flying best, and I'm really glad Peter was a guy, not a girl or a lady." Who can argue with that?

City Ballet of San Diego continues its 17th Season with Celebrate Balanchine, May 7-9, 2010, at the Spreckels Theatre.

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