Oklahoma

As a lifelong lover of proper melody and strong plots in musicals, I have always regarded “Oklahoma” among the very greatest musicals ever written.    With not a single sub-par tune in this show full of all-time classic songs and plenty of opportunity for company dancing, it is a dream musical.   Indeed, the legendary dream ballet scene broke new ground at the time and is as fresh and pertinent today as it ever was.   The story is set against the exciting and true to life founding of Oklahoma itself as a “brand new state”.   The optimism and vibrancy of the subject matter infuses the whole show with an exuberance and excitement that is simply thrilling.   

In the care of director John Harries-Rees, MD Colin Copestake and choreographer Louise E. Wilson, LOS thus ensured a sure-fire hit and it was sheer joy to sit back and watch the magic unfold.   A blockbuster team if principals and a dedicated chorus provided what was, in effect a professional standard show.

Opening with the handsome, but headstrong Curly McLain calling upon the pretty, but feisty Laurey Williams, intent on taking her to the box social in his “Surrey with the Fringe on Top”, though with both characters being too stubborn, at that time, to declare their love, the scene was sheer joy.   With the worldly-wise Aunt Eller informing the puzzled Curly that “she likes you, quite a lot”, we saw the whole range of human emotions perfectly displayed when love and passion is present.  I cannot praise Jacob Botha (Curly), Charlotte Fisher (Laurey) and Rachel Yelland (Aunt Eller) enough!    All have beautiful singing voices, a rare stage presence and all were achingly real in their roles.    A string of other superb performances were given by Catherine Quinn (Ado Annie), Daniel Burns (Will Parker), Tom Paine (Jud Fry) and Barry Stevens (Ali Hakin), well supported by Catherine Poplett - giggling memorably as Gertie Cummings and Paul Hyde as the no nonsense Andrew Carnes.   Only space limits me from more detailed individual praise of all.  A numerous and enthusiastic chorus with some marvellous high kicking dances and intensely drilled routines gave full backing to the wonderful principals.

A wonderful set, together with with wicker chairs, hay bales etc. and with excellent use of lighting and sound by Richard Pike and Stuart Vaughn respectively added further realism to the whole piece.    SM Sarah Wood and her team ensured slick changes too.   Costumes were truly special; real leather cowboy boots, proper hats and huge credit to Elizabeth Callow for such wonderful costumes.

I was entranced by the sheer beauty, drama and brilliance of the stunning dream ballet sequence.   A huge amount of thought, hard work and dedication had been done by all involved and how it showed!    The "Oklahoma" song and dance was almost as magical though!

Accents were marvellous, with just one principal’s being a tad less so.

All in all this was a show and performance that will live in the memory - I have seen countless. Oklahomas (and performed in two), but this one was truly something else!   Finally, in my household we regularly use the phrase "and two bits" but no-one says it quite like you though, Tom!

 

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