Oklahoma!

Ever since it was written, Oklahoma! has been a popular and much produced title on the community theatre circuit. Savoyards have done it four times, the last in 2005, and since the show is now back on Broadway (admittedly in a more radical version), it’s time to re-look at the original again, which director Robbie Parkin has done with this production.

How does it stack up today?

Well, it’s long (three and a quarter hours with interval) but the story of who will take Laurey to the box social still resonates, and the score is timeless, as evidenced by the number of audience members humming along to the overture.

The strength of this production was in the acting performances especially young Joshua Thia as Curly. Despite lacking the beef and brawn usually associated with this character, he was more than acceptable in the role and sang it well. Eighteen-year-old Chloe Makiol had an open-prairie wholesomeness that was perfect for Laurey, the girl who can’t make up her mind. Her sweet soprano swept us away in “Many a New Day” and the iconic lovers duet with Thia, “People Will Say We’re In Love”, was the musical high-point of the show.

Ado Annie is a gift of a role and Gemma Hansom brought spirit and vivaciousness to it, landing every laugh in “I Can’t Say No”, whilst opposite her as her better-half, the dumb and innocent Will Parker, Tristan Vanyai was a fireball of energy.

Kyle Fenwick’s bad-boy Jud Fry was a malevolent mess of emotions which resulted in one of the evening’s best solos, “Lonely Room”, an underrated R&H classic.

Warren James’ performance of the Persian Pedler Ali Hakim was big, with lots of business, and a Jewish accent that was a cross somewhere between Fagin and Tevye. Centre-stage with the ensemble he made the often dropped “It’s a Scandal, It’s an Outrage” into a show-piece, but Jacqui Cuny’s Aunt Ella suffered from occasional underpowered vocals.

Natalie Lennox’ dance routines were of the traditional hoedown and square-dance variety, but her Dream Sequence of “Laurey Makes Up Her Mind” was inventive and well done.

Jacqueline Atherton did great work in the pit and it wasn’t her fault that these days the orchestrations sound dated. Despite that, for a show that’s 77-years old it’s still in good shape.

Peter Pinne         

Photographer: Christopher Thomas