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Peer Reviews Oklahoma!
In its 1943 debut on Broadway, it was revolutionary, a milestone in the development of the American Musical, integrating music with plot and character as never before. More than 50 years later it can seem old-fashioned, melodramatic and as filled with as much corn as the imagery in the opening number suggests. For better or worse, Oklahoma is perhaps the quintessential musical, and anyone staging it should be wary of stepping away from tradition. Best to fully embrace its sturdy virtues and peerless musical score. John R. Leffert does exactly that in this production. For anyone familiar with this material (and who over a certain age is not?), you will find no surprises. But why should there be? He stages this classic with an undeniable affection for the form and history of musical theatre, showcasing a talented and exuberant cast in the process. Pete Lay makes a fine Curly, strutting across the stage with the cocksure arrogance that has always defined this character. Emily Fields as Laurey seems a little lost in finding the character, but her singing was strong and sure. Kyle Braun is something close to perfect as Will Parker, essaying the musical numbers with great aplomb while pitching every joke with expert timing. Jessica Adamson makes the most of the show-stealing Ado Annie, delivering the right touch of bawdy humor. Among the supporting players, Barbara Myerson Katz is a reliably vinegary Aunt Eller and Jon Adams is suitably menacing as Jud Fry. Although there were moments when he seemed to overdo the character's animalistic qualities a bit, he did fine work in his duet with Mr. Lay, "Poor Jud is Dead." I must confess that this number, a brilliant piece of dark comedy in the midst of such relentless high energy, has always been my favorite scene in Oklahoma, and the two actors do it justice. Jason Cooper seemed to be enjoying himself playing Ali Hakim, the peddler who struggles to extricate himself from a love triangle with Will and Ado Annie. The rest of the ensemble, while not always displaying vocal qualities equal to the four leads, functioned as a cohesive and focused chorus throughout the evening. Only when we arrived at the "Dream Ballet" that closes the first act did this production falter slightly. While the compact orchestra accompanied the singing in good form, making a virtue of their small size through thoughtful arrangements, once the vocals were gone they seemed to struggle somewhat in this extensive dance sequence. As the run continues I trust they will be able to tighten up their playing. Sandra Simpson's choreography throughout, but particularly here, was interesting and evocative of the great tradition informing this sequence (it was originally staged by the legendary Agnes DeMille) without seeming to be derivative, and the cast of dancers worked valiantly during this most challenging portion of the show. Although one thinks of Oklahoma as among the most wholesome of shows, the ballet, along with the aforementioned "Poor Jud is Dead," introduces dark, threatening motifs, illustrating the subversive thread that the authors of the show, Rogers and Hammerstein, present to counterpoint the sunny optimism that was their hallmark. At one point, three female dancers (the program does not specify them in the cast) move through some torrid steps to deliver some welcome sexual energy to the proceedings. Even if the ballet falls short, it is by small degrees, and is a brave attempt. Still, the overall impact of the show on the audience remained positive and upbeat, as the appreciative audience cheered and clapped along during the title song and its reprise during the "Finale Ultimo." Mr. Leffert, with the help of his fine production team, overcomes the limitations of a smaller stage to mount an expansive production of a beloved classic. In the past, CentreStage productions have sometimes been plagued by problems with their sound system, but I'm happy to report that on this night, there were no technical glitches.
Oklahoma! Posted July 4, 2008
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