Oklahoma

Rodgers & Hammerstein wrote many musicals and it would be very hard to put them in order of merit. They are all full of well known songs and happy stories and are guaranteed to entice audiences to come along and have a fabulous evening of entertainment. “Oklahoma” is way up high in the charts for a favourite musical. I am delighted that my last show review for N.O.D.A. after fourteen years was this company’s particular choice of that show for summer enjoyment and also taking place at what has been my local theatre for the last ten years.

Love is in the air for three couples in this production. Curly McClain and Laurie Williams portrayed by Josh Martello and Lauren Ayling were a powerful force together on stage as they played cat and mouse games with one another until the inevitable happened and the story finished with an eventful wedding.

Will Parker and Ado Annie Carnes played by Tom Doolan and Charlotte Grimes, being the next pair, amused us with their on/off romance because of the indecisive Ado and her dilemma with a choice of Will or a travelling salesman.    

Ali Hakim was that pedlar. Luc Harvengt acted out this great comedy part with ease and precision. Together with the girl he eventually ended up with - to his horror -  Gertie Cummings (Jasmine Wickens), they provided us with much of the comedy in this three couples love story.

Trying to keep the peace between everybody and knitting the plot together from beginning to end we met everybody’s Aunt Eller (Michelle Ede). This was as all the above, a character played with expertise, feeling and conviction.

In every show, there is always a bad apple somewhere. Laurie’s nemesis is this one is Jud Fry, the lonesome twisted farmhand. Played by James Mitchell, this was top class acting in that it was most most believable and his sinister attitude easily permeated into the auditorium to us, the audience. In the scene where Curly confronts him about his date with Laurie, you could feel the air being cut with a knife. A terrific solo from Jud and an most enjoyable duet from the two of them.  

The final named part was Andrew Carnes (John Carroll) doing a grand job of protecting his flighty daughter, Ado, from the likes of Ali Hakim.

The above nine characters were ably supported by an ensemble of twenty-seven people.

As in all Rodgers and Hammerstein, there is plenty of acting and reaction required and also much singing throughout. This was well executed and we could hear every word.  The solos and duets were all excellent - it would not be possible to choose any favourites - even if I tried. Not only did they act and sing, but also performed the choreography that was expertly danced by them. Thirty-six people on that stage moving in lines and performing barn dance routines was quite amazing. The choreography in the first act with just the ladies was also just delightful. Still on the subject of choreography, the ballet at the end of act one was absolutely wonderful and very moving.

Musical Director, Kim Sheldon, on piano, had seven more musicians in the orchestra pit and was in complete control of the overall balance of music, singing and underscoring.

The colourful set was an open stage with a removable two-sided building, allowing fast and efficient scene changes.  The five ladies whose names are listed for wardrobe also need a special mention for their appropriate, colourful and many, many costumes.

My congratulations to every member of the LMCS production team, backstage crew, musicians and actors for a polished and highly pleasurable evening.

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