Oklahoma!

Like many of us theatrical luvvies, Stockport Operatic Society adore to elate with a golden age classic musical. Year on year this conventional company present a homage to a time-honoured title and you’d struggle to get more traditional than ‘Oklahoma!’ which was their 2017 show of choice and they prove what a marvel this show remains. Three quarters of a century after its 1943 premiere, this production demonstrates how its energy and honesty can still exhilarate – a hymn to the purest values of the American frontier.

At the start of the show I was a tad disappointed that we weren’t treated to a rousing Rodgers and Hammerstein Overture (I do enjoy a good Overture). It took about an hour and a half to understand, and appreciate, why it’d been cut with Act I still going - yes, it was a very long first half and as much as I adore to relish and excite in an Overture, my numb bum had had enough so gives thanks to whoever is responsible for chopping off whatever you could to the running time.

This score was given a good airing thanks to Claire Sweeney and her orchestra who cherished this long-standing work with vim. Being sat in the circle (for Act I) my attention was regularly disrupted by one member of the brass ensemble who kept lighting up his phone and continued to use it, distractingly so, whenever he wasn’t being used, putting his insolence aside, this orchestra ravishingly excelled with this frequently sunny score.

With no other than Gary Jones-McCaw heading up the movement, it’s impossible to not appreciate how much of this show was originally danced, in this day and age that’s quite the norm but back then, musical theatre (as we know it) was only just finding its feet and due to the level of ingenious choreography this show involves, ‘Oklahoma!’ was considered a physical masterpiece then and as this production demonstrates, it certainly still is now. The ballet at the end of Act I was exquisite, a masterclass in storytelling through movement with a cast of exceptional physical ability, I almost forget that I’d been watching the longest first half in history. 

Director, Michael Jones-McCaw and choreographer, Gary did an effective job of staging the show on the Stockport Plaza stage, I’d say this was the most seamless production I’ve experienced in this theatre in terms of its logistics and flow. We’re often expected to appreciate the difficulties of this theatre during a performance as cast and crew struggle with scene changes due to the space limitations and awkward stage but nothing of the sort seemed to be in evidence during this production.  

The set gave the impression of being a made-to-measure design and, anyone familiar with the Stockport Plaza will know, that’s ever so rarely achievable when hiring one in! The expanse of sky that Oklahoma has become famous for was beautifully factored in to the visuals. I don’t believe anyone who’d say they didn’t feel a romantic mood thanks to that striking moon in Act II.  

Following suit from previous Stockport productions, Gary Jones-McCaw not only choreographs but takes the lead role. His Curly – well – you fall in love with his voice as he announces, clear as bell, what kind of morning it is. Gary delivered the matinee idol, irreverent attitude, heart-on-his-sleeve and good humour charm.

Sarah Thewlis portrayed Laurey (a feminist of her day). This is a role which is usually guilty of too much operatic warble from its actress, not this time! I wished Sarah would just sing everything and not talk at all as her speech delivery was exasperatingly rendered with a sort of vaudevillian ‘put on’ voice which stopped her scenes conveying genuine believability. But all was forgiven when she sang thanks to her effortless singing voice, full of character and a delight on the ear which somehow needs to be carried through to her dialogue.   

Jordanne Woodward’s Ado Annie, a girl of distractible and sex driven virtue, is a sure-fire belter, in terms of selling her big number “I Cain’t Say No”, as well as in characterisation. This is one of those parts that has so often irritated the living daylights out of me but Jordanne was hilarious, sincere and delightfully naïve.  

Unofficial matriarch Aunt Eller was given a hard-boiled edge with a soft centre by Carol Ackers in a stellar performance.

Rhys Nutall’s Jud, with unnerving intentions for Laurey, sends shivers down the spine. His deep, devilish voice combined with excellent dance ability for the dream sequence ballet demonstrated ideal casting for this part.

Vying for the audience's affections is Alessio Scappaticci as peddler Ali Hakim - a sort of Wild West Poundland on wheels. His winning smile and amiable style are put to good use to convey this charming and likable character.  

Ben Drane gave an enthusiastic performance as Will, a strong all round performer and a special mention must go to Megan Curley who danced magnificently as Dream Laurey in the Ballet, just terrific.  

This was a slick production which brought all the essential elements together with good casting and excellent performances. Furthermore, this was the first time I’ve ever enjoyed a production of ‘Oklahoma!’ and will be surprised if I ever enjoy it to this degree again – it’s not a show I particularly like but I can wholly appreciate how it’s a pinnacle of its genre but this ride into the Wild West didn’t fail to leave me thrilled, uplifted and romanced. It's a definite yee-haw from me.

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