Oklahoma!

This iconic musical introduced me to the wonderful world of musical theatre in the 1950s when my parents bought 4 EP's (remember those) of the film soundtrack packaged in thick padded covers with a picture of the surrey with its famous fringe on the front and extensive sleeve notes on the back. I suspect these would be worth a great deal of money these days. So it transpired that I was able, at the tender age of 7 or 8, to sing "I Can't Say No", without any hint of understanding the meaning as my party piece. But enough of this reminiscing, I am supposed to be reviewing the show!

I liked it. A good start. Director Richard Sanderson had chosen not to clutter the stage with bales of hay, horses tie up rails or other confusing ephemera. When furniture was needed such as Aunt Ella's rocking chair, which no "Oklahoma" should be without, they were simply brought on and then off again when their moment in the limelight was over. With the band on stage, it left the entire large open stage in front to become a concert platform. I always enjoy watching musicians at work. Dressed in their cowboy-style shirts their unmissable presence worked a treat. If I have a cavil, and it is a very small one , it is this. The white wooden fencing should always have been the line between the magic space reserved for the band absolutely and the equally magic space beyond it where the actors plied their craft. However, the very accomplished musical director, Lisa Manley invaded the actors' territory by sitting on a stool in the actors' space. No, No, no, I cry. It offended my sensitivities. Richard, I know you will know what I mean. So if that is all I can say negative about the show then surely the rest must be positive. And I assure you it is.

"Oklahoma" must rouse you; take you in and shower you with delightful melodies and beguile us via an enjoyable, sometimes dark, plot. It is a tale of opposites coming together and of eliminating those unable to fit in (Jud) in the name of corporate progress. Poor Jud!  While I mention Jud let me say I thought Damian Marsh brought a new dimension to the role. How often have we seen Jud portrayed as an out and out villain? Damian showed us something of this sad confused outcast's inner agonies. It was the best Jud I have seen, or am likely to see. The audience recognised the brilliance of Damian's performance by giving him the loudest ovation on his curtain call. Lindsay Taylor's choreography was apt and infectious, totally in sync with the rooting tooting wild(ish) west. Curly had a fine voice and used it to excellent effect. I remember my goosebumps when I first heard the rousing voice of Gordon MacCrae rising above the chorus in the title song. Matt Whateley has the ability and the gravitas to do the same, I loved it. Matt is clearly a singer in the best tradition of matinee idols. Catherine Cox moved well and made an attractive Laurey. It was apparent Catherine is an adept dancer such was her fluidity and well-measured interpretation of this role. David Smith and Jessica Balderstone as Will Parker and Ado Annie were entertaining clearly enjoying their roles. The role of aunt Ella is a role reserved usually for the grand dames of societies, think of Maureen Lipscombe and others. So the expectations of audiences are set very high. Julie Cummings rose to the challenge and can count herself amongst this illustrious company of Ellas. (I bet she did not play Aunt Ella 22 years ago though). Sophie Greenwood, Eric Beardsworth (an avid Rovers supporter I am told), and Riz Riley ran with their roles giving us much to admire.

The dancers and ensemble were well drilled and clearly enjoyed their opportunity to demonstrate their skills. I suspect the title song would appear in most fans of Musical Theatre's top 3 favourite MT songs. It is magnificent with its marvellous melody and eagerly expected "Hey" at the end. This cast did us proud in its interpretation. I suspect it still will be popular when many others have fallen to the ravages of time and changing tastes. Get this song right three times and you have a hit on your hands and you can be forgiven even for allowing stools in the exclusive actors' area!

So, back to the overall concept. Simple, clear, reliant on the piece itself. for its backbone, this was a production to be proud of. Now I shall go and root around in the attic to find those 50s EP's. Thank you for inviting us and thank you too for your always genial and much-appreciated hospitality. Joe's welcome is something we have grown to look forward to.

PRM.

 

 

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