#either if you care about spoiling the plot of a 75+ year old musical or this production specifically

[supercantaloupe]

this oklahoma fucks

my thoughts on the oklahoma revival (6/8/19 matinee) under the cut! 

this show. i was absolutely blown away. i see a lot of shows (one glance at my theater page will tell you that much...) and at this point it’s rare that i see something which i feel in my gut from start to finish how incredible it is, but, wow, oklahoma lives up to the hype. it’s 2 hours and 45 minutes plus a 15 minute intermission, and i swear i didn’t stop grinning or giggling for that entire 3 hours.

it’s also sometimes a rarity now for me to go into a show blind. i certainly was familiar with oklahoma before today -- i knew the basic storyline, i’d even heard some of the songs from this cast, and hell, the musical’s almost a century old (it basically founded the modern broadway musical!) -- but i didn’t know it very intimately going in. from the moment i entered that theater, though, i was enraptured. 

the show has a comfortable feel to it, with its old-timey wild-west drawling dialect and a loveable-as-always rogers & hammerstein score, but it’s reimagined in a way that makes it feel both completely new and completely familiar at once. it’s an intimate theatrical experience, one i haven’t really felt since great comet took its final bows. i’ve always been a fan of intimate and innovative productions but this show really excelled. playing in the round is the perfect way to welcome an audience into your world on a personal level, but oklahoma takes it a step further. there isn’t even a shift in lighting from the beginning of the show; it looks the same from the momeny you walk in and sit down through the first two numbers. it’s a small detail but it really works wonders in creating a world that the audience feels a welcome part in from the get-go. and that’s not even mentioning the tables onstage, the crockpots full of chili, the table of yet-to-be-made cornbread (all of which gets to be enjoyed by the audience during intermission!). and the string band right there on stage! with pedal steel and mandolin and banjo! what better way to welcome your audience into your world than to incorporate real elements of americana: a barnyard hoedown, a cultural centerpiece in american mythos and identity. (plus, i’m always a sucker for country twang in my music and a band onstage. pit musicians never get enough love!)

and man oh man, the cast. they are all phenomenal. my selected and personal commendations go out to mary testa, whose aunt eller COMMANDED the room and oozed a lovable familial flavor; ali stroker, for her charming, bubbly, and completely endearing brand of wildness in her portrayal of ado annie; patrick vaill, for his deeply chilling performance as jud; rebecca naomi jones, for the surprisingly deep layers of thought and emotion she brings to her laurey; and to damon daunno, for his downright enchanting vocal performance, southern drawl, and ass-waggling swagger all the way to the drama of his more serious scenes, like in “poor jud is dead” and the wedding (dudes got raaaaange. just sayin.). i need a cast album immediately!

it needs to be mentioned how much personality and charm put into every aspect of each actor’s performances. the choreography was just wonderful, from the corn-shucking “many a new day” to curly and will prancing around the stage slapping their thighs (there’s a lot of chaps and a lot of ass wiggling in this show. make your peace with that right away.) to the delightful hoedown-style group dancing in “farmer and the cowman”. i’m absolutely delighted at how seamlessly integrated the wheelchair-bound ali stroker is in every aspect of choreography -- it’s skillful, it’s full of personality, it’s unique and fun to watch. really the only choreography (and really the only scene in general) that i failed to fully appreciate was the dream ballet: as cool as it was, i personally am just Not A Dancer in any shape or form and such an interpretive, almost contextless solo dance kind of flew over my head. i still appreciate the artistry and skill involved in it but i’m sure there are other people out there who got a lot more out of that scene than i did.

to take a moment to appreciate the more technical aspects of the show: firstly, i was impressed by the subtlety employed in the sound design. i’m pretty sure all the actors were all wearing body mics (pretty much standard practice nowadays), though they were either very hard or downright impossible to spy. (nice job to the costume and hair departments for concealing those even from audiences so close!) my theory is that the mics were placed higher up on the actors’ heads, effectively concealing them in their hair and distancing the mic from their mouths -- thereby lessening their ability to pic up the actor’s voices. in a huge, proscenium-style theater, that’d be a problem, but here, in a theater and a show where intimacy is the name of the game, that works. you still heard the actors’ voices from where they were onstage, not just pumped in from speakers (if they were at all!). effects were used sparingly but to great effect: i noticed even in the opening number the reverb effect used only at the ends of certain words or lines to evoke the echoing of a voice over the prairie, which i thought was a very nice touch. and in addition to body mics there were handheld and stage mics, which indeed functioned as handheld and stage mics, with a clear auditory difference between when the actors used them and when they didn’t. again, this built up the believability and intimacy of the world, as well as contributing another layer of coolness to certain scenes (like “poor jud is dead”, which is done almost entirely in the dark and almost entirely on one handheld mic between curly and jud. the upped volume and closeness evoked using the handheld mic brought the entire audience in that much closer into that small and intimate space of the smokehouse and heightened the tension masterfully.)

and, oh my god, the lighting. the biggest snub of the tonys this year is oklahoma not even getting a NOMINATION (atw turn on your location i just wanna talk). i mentioned before those house lights not changing from when you enter the theater through the first few numbers but when they do -- when curly and laurey lock eyes and really consider each other -- there’s a sudden and unexpected shift, going from the bright full house lights to dark everywhere, with the stage lit completely in a dreamlike green. and just as quickly as it came it goes, snapping back to those full house lights again. what a simple but very strong way to convey a message! the show also makes really great use of directional lighting, projection, and colored ambient lighting, with the latter i find particularly notable in the late part of the barn party scene when laurey has her encounters with jud and curly (with these interactions lit a cool and creepy red, mostly by the colored fairy lights strung from the ceiling among the streamers). also an effective surprise is this show’s use of blackouts, its use of complete darkness. i’ve seen a lot of shows but i’ve NEVER seen a show use a blackout like this before. 

for example, in the scene leading up to “poor jud is dead”, when curly goes to talk to jud in the smokehouse, the lights suddenly cut out, entirely, like we’ve stepped into a dark and sordid little corner of the world, jud’s domain. the whole beginning of this scene is played ENTIRELY in the dark, with naught but the sound of the two men’s conversation to tell us what’s going on. it’s creepy as hell and so effective. and then, as curly sings, a projector comes on, shining onto the back wall of the theater, an extreme black-and-white closeup, first of jud, then of curly, and of the two of them together, literally being broadcast from a camera held right up then and there. and after the song, after the projection fades away, we get a single spotlight, a pinpoint of light streaming from above; it shines onto the table directly between the two men, illuminating that patch of space, casting an eerie glow on the scene. and then, finally, the end, when auntie eller walks in, and the lights fade up just a bit, like would realistically happen if someone cracked open the door in a dark room. everything about the lighting in this scene plays up the creepiness of jud, the unpredictability of his madness, it plays with the suspicion and nerves of the audience by literally depriving them of information in the form of visuals. it plays similarly to jud’s and laurey’s encounter in act ii, when the lights cut to complete black again as he kisses her. we can’t see them, but we hear everything: kissing. metal clinking. footsteps, retreating. and then, those red party lights fade in, just enough to see laurey retreat to the opposite end of the stage, just enough to see jud’s unbuckled belt and confused, angry expression.

yeah, this oklahoma doesn’t pull its punches when it comes to jud. they make it crystal fucking clear who he is and what he’s trying to do. the lights, the sound, the whole production works to this end. and it doesn’t pull its punches with its finale, either. those of you familiar with the original show know that jud shows up to the wedding with a knife, and after a skirmish with curly, ends up falling on it and dying. this oklahoma did something else: jud shows up, asking only for a kiss from the bride and to give a gift to the groom. inside the box he brings is a shiny pistol, thrust into curly’s hand and trained on jud, standing open and ready for death, a forced assisted suicide. and after several long, tense, silent seconds, curly pulls the trigger. (i actually wasn’t even sure if they were going to go that far, but, yeah, they did that.) and the blood that splatters both on jud’s shirt and on the faces and white wedding outfits of laurey and curly is copious, and raw. it stays there for the rest of the show, a reminder. the finale ultimo is no longer a happy, triumphant reprise of the title number. it’s sung, powerfully and communally, by everyone with dead-fucking-straight faces. 

this isn’t your grandmother’s oklahoma, that’s for sure. 

what it is is a fantastic new staging of one of the biggest, most familiar classic pieces of american theater ever written. it’s simultaneously a back-to-its-roots retelling and a refreshing new take of classic material. it manages to be fresh and nostalgic, old and contemporary, mythologized and contemporary all at once. it’s not quite a masterpiece, but it’s damn near close to it. 

in short, i haven’t seen a show this good in a long time. if you get the chance, you should too. it’s not one you’ll want to miss.