Oklahoma!

Historically, Oklahoma! is a landmark musical - the first collaboration of Oscar Hammerstein II and Richard Rodgers, and a show that changed audience expectations of the genre. The first audiences must have found it new, surprising and fresh. We usually think of it now as a nostalgic piece, and a safe, predictable, if very loved, musical.

Black Swan’s Oklahoma! brings back the freshness and “wow" element to Oklahoma! Directed with a strong hand by Richard Carroll, this show throws out your expectations and puts a surprise package around every corner, while retaining a love and respect for the original work.

Playing in the round on the Heath Ledger stage, this is intimate theatre and you are very close to the action. Set in an Oklahoma territory that never existed: the time period is blurred - but Johnathon Oxlade’s costumes and set (and a view-master) would suggest it is not pre 1907 - this is a show that is great to look at, and great to feel.

One of the most publicised elements of this production is the casting of actress Emily Havea as Curly. From the moment she enters, on a life-size fibreglass horse, beautifully singing “Oh, What a Beautiful Mornin’” she begins to win the audience’s hearts. I’m not sure why it works, apart from the fact that Havea is a gorgeous performer, but her Curly, played as a man, is an absolute charmer.

Stefanie Caccamo is a strong, determined and delightful Laurey - another beautiful voice and a very likeable performance. She also executes one of the stand out moments of designer Jonathon Oxlade’s costuming - a reveal that outshines any in Eurovision.

This is a hard-working ensemble. With no chorus as such, the nine performers almost all perform double duty, playing additional minor roles and adding to dance numbers with lightning quick changes. Laila Bano-Rind is an adorable Ado Annie, with a lovely balance of sexiness and naivety. Caroline McKenzie brings bucketloads of spunk to Aunt Eller. Sara Reed scarcely pauses the whole night, playing Gertie with a grating giggle, giving poignancy and passion to Dream Laurey between playing a bundle of characters including a horse and a cow-hand. Andy Cook is a very unnerving Jud Fry with beautiful, booming bass-baritone notes. Axel Duffy is a funny and sweet Will Parker who gives us a stunning dance number. Cameron Taylor is sleazy but weirdly likeable as Ali Hakim, coping with a plethora of extra responsibilities and a wayward moustache on opening night. Luke Hewitt very nicely completes the cast as Andrew Carnes.

Accompanied by a four piece band (Victoria Falconer, Wayne Freer, Adam Gare and Jarrad Payne) and sometimes also by the cast - with a huge variety of unconventional instruments - Oklahoma! blurs the line between the band and the cast - with the overlap both interesting and fun.

This show keeps its audience smiling throughout - apart from its few dark moments, which are very sensitively portrayed. Almost an Advent Calendar of treats, almost every new song brings us something unexpected and new. I am loathe to spoil surprises - but expect a great little Surrey with the Fringe on Top, some very different, quite dark staging for Jud’s smokehouse and some audience involvement at the box social. 

This is not the Oklahoma! that you know and love, but a great re-examinaton of an iconic musical. The revelation and newness of this Oklahoma! must be closer to how the original audiences felt, when this new way of performing debuted in 1943. A feel-good production with the talent and polish to cap it off, this Oklahoma! is much, much more than OK!

Kimberley Shaw

Photographer: Daniel J Grant