Oklahoma

Life in the rural area of the new territory prior to the formation of the state of Oklahoma was a tough one, where Laurey and her Aunt Eller are running a farm with little help ‘cepting a seemingly hostile, dark character of Jud Fry who bunks in their Smoke House. The set was designed to show us the roughness of this life and how folks enjoyed their simple pleasures with picnics and hoedowns and Aunt Eller’s wisdom trying to break the barriers between the cowmen and the farmers. Curly McLain has taken a shine to Laurie but so has Fry. This boils over at the auction of picnic baskets both trying to outbid each other. Curly gives all he possesses and Jud just bids one more bit. There are inevitable fights the last ending with Jud dying by his own knife. Of course there’s a happy conclusion with cowboy Curly, now to become a farmer and marrying Laurie. After a local trial, he’s found not guilty, his defence being ‘defending’ himself. Light comic relief comes from a crazy Turkish peddler man who falls for Ado Annie who is promised to Will Parker. Wonderful well-known songs – ballads, and the great hand-clapping ‘Oklahoma’ finale.

Walking into a dimmed hall the band on floor level were surrounded by straw bales. The open rustic set was designed by Stuart Swift with Alice Bura the Scenic Artist. Much use of hessian including the flats and heavy swags swung across, a worn hanging American flag, more hay bales, five bar fencing, a flown swing, reins, the use of moveable boxes, simple benches all adding to the location of Aunt Eller’s farm. I particularly liked the back projection of the windmill water pump fan rotating. Good props and an authentic Western saddle and together with imaginative lighting from Owen Ling, plus beautifully cued sound effects, of birds, a barking dog and gun fire shots designed by Forest McCarthy assisted by Sound No 2 William Stoneham.

Hayley directed her vision of the first produced musical of R and H of 1943 contained themes still relevant today and using the authentic sound of a band with fiddles and banjo, the toughness of the life in the early pioneering days came through. Danny Moulton, musical director kept us toe and hand clapping and the cast worked hard and created some rousing familiar numbers together with love ballads and the particularly dark number from Jud. The ensemble dances were set by Hannah in square dance style well executed in a fairly small space and the ballet sequence using the gauze was beautiful and together with Owen Ling as Producer the show was well brought together.

Fiona Murch portrayed the hardworking, wise Aunt Eller opening the show on an open stage working her butter churn and certainly commanded the picnic basket auction. Stuart Collier as leading man cowman Curly produced a strong opening number of ‘Oh What a Beautiful Morning’ setting the opening scene and setting his cap for Laurey, gives up everything and with added dramatic fight scenes he marries her and becomes a farmer. Rebecca Woollard with such beautiful clear singing voice created a delightful Laurey Williams and danced in the ballet sequence under the influence of the ‘Elixir of Egypt.’ Max Pleasance certainly created the dark, Brooding character of Jud, which was chilling at times. His number ‘Pore Jud is Daid’ was quite moving. Jack Davidson characterised the dim-witted cowman Will Parker, needing to raise $50 to marry flirtatious Ado Annie Carne. Her great number ‘I’m Jest a Gal Who Caint Say No’ was particularly well played by Jessica Leaper – his big number the character comedy piece was telling of the modernization out there in Kansas City. David Richardson developed the cheeky light-hearted part of salesman Ali Hakim, the Turkish peddler man, turning Ado Annie’s head but ends up with another and I commend Samantha Tomlinson for keeping up that wonderful laugh! Patrick Harrison portrayed a strong presence as Judge Andrew Carnes. The ensemble worked hard throughout supporting the main characters both in their vocals, sustaining accents and exciting movement. Costumes, though not credited in the programme were very suitable for the turn of the century where folk were prepared to get their hands dirty and straw in their hair but spruced up for a wedding.

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