Oklahoma!

Oklahoma! has to be one of Rogers & Hammerstein’s most popular shows in their distinguished careers and a firm favourite with community and professional companies alike, and in this production the Mansfield Operatic production team have succeeded in creating a fresh and very engaging interpretation of the classic and very much made it their own.

From the opening bars to the final curtain, it was clear that Paul O’Learly and Roger Holland had put in a significant effort in the rehearsal room.  This ensured that the vocal performances from Principals and Chorus alike were clear in diction and blended beautifully to create great solo numbers and some of the fullest chorus work I have heard for some time.  This coupled with a great sound balance between stage and orchestra ensured that the musical bedrock of the show drove the production throughout the performance.

The other unique feature of the Mansfield production was the sheer quality and quantity of choreography throughout the show, including a 14 minute dream sequence at the end of Act 1.  Cassey and her team of young Dances, Cast and Principals all revelled in their dance and movement which added significantly to the whole production.

The cast of Principals, Dancers and Chorus without exception delivered a high energy, high enjoyment production that was full of life and acting/dance nuance.  There were no caricatures, overacting or playing for a cheap laugh.

Sean Curtis delivered a very strong and believable “Curly McLain” with Amy Shaw bringing a more 21st Century strength and independence to her portrayal of “Laurey Williams” which suited the role to a tee.  Strength of personality, fun and vulnerability were the key characteristics that Helen Mumby brough to her portrayal of “Ado Annie” which proved the perfect foil to both Jamie Savage’s keen suitor “Will Parker” and Matthew Jayes reluctant “Ali Hakim”.  This trio of Helen, Jamie and Matthew provided the comedy core of the production and their scenes were fast paced, well judged and always highly entertaining.

Ann Colgan was the perfect “Aunt Eller” a great well-rounded performance that shone through in all her scenes.  Wayne Shutt revelled in his portrayal of “Judd Fry” and again did not take his characterisation too far so you could sympathise to some extent with his motivations and frustration through exclusion rather than being a pantomime bad guy.  The other named characters all added pivotal contributions from Matthew Bird, Tineke Fleet, and her irritating but perfect laugh, JJ Gill, Graham Berridge, Steve Webb, Daniel Rayner, Jennifer Richardson, Verity Lee-Varley, Clare Harris and Gemma Case.

None of these individual performances and great full cast set pieces happen by osmosis, and Ally Sadler has to be congratulated for the production as a whole especially in these Covid19 times.  Ally together with her lighting, costume team, sound and backstage team created a very sensitive staging of the production.  The Mansfield Palace Theatre is a large space and it can be tempting to use too many large sets to fill it.  This production however relied on a number of key sets in some scenes (the smoke house, the porch) and in others was not afraid to use an empty stage that was filled by the performances of the full Cast.  The action crackled along throughout the performance with Ally understanding how to get the actors off at the end of their scene while the next scene was forming.  All-in-all a very enjoyable production that was clearly appreciated by the audience who gave the performance a well deserved standing ovation during the reprise of a rousing full cast rendition of the “Oklahoma!” to finish the show.

Congratulations one and all and I look forward to seeing you next year

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