When Rodgers and Hammerstein’s Oklahoma! closed in 1948, it was the longest running show in Broadway history. Famed for its seamless melding of book, score and dance, this musical advanced forward the form. Songs defined characters whether they were soaring ballads or comedic numbers. I had never seen this classic musical performed professionally so I approached St. Ann’s Warehouse excited to see what was billed as a radical and darker reinterpretation. The director Daniel Fish is the star of this version and the musical suffers from his indulgences.
Laura Jellinek’s Set Design creates a barnyard dance hall world of all wood. The audience sits on both sides of the action observing the rather simple story of Laurey (Rebecca Naomi Jones) trying to decide which suitor she will go to a picnic with. There’s cowboy Curly (Damon Daunno), the hero and real catch, or farmhand Jud (Patrick Vaill, intense and excellent). For this show to bloom, there has to be more chemistry between Laurie and Curly than was on display. He occasionally sings at the microphone which is helpful. If you see this show, sit towards the middle. I cannot imagine anyone on the ends of the set could clearly hear these performers.
Agnes De Mille’s dream ballet is famous for showing audiences what was in Laurey’s mind about her two suitors. In this “radical reinterpretation” a singular dancer (Gabrielle Hamilton) wears a white shirt with “DREAM BABY DREAM” printed on it. The dance is long and largely pointless but there are moments when it focuses on how horny the young’uns can be. In this choreography, Laurey’s primal urges are displayed by aggressive boot scoots across the floor. Dog owners will recognize the visual.
There are some genuinely fine moments in this show. Mary Testa’s Aunt Eller is commanding and her booming voice needs no amplification. The real core of this Oklahoma! was the love triangle between Ado Annie, Will Parker and Ali Hakim played by Ali Stroker, James Davis and Michael Nathanson. Each character shined and you could feel the sexual tension of young innocent and not so innocent yearnings. In their scenes, the show blossomed into the bright golden haze I was hoping to see.
The lights are turned off (more than once) and the book’s darker undertones are brought front and center so you cannot miss them. Instead of creating real drama, everyone around me became distracted and bored. No more so than the woman sitting next to me who, at the end of the dream ballet, turned to her companion and said, “I’m not clapping.” Exiting the theater, you could sense the audience was mixed. For every “fabulous” there was “a hot mess.” In this Oklahoma! the ending was altered and made little sense from the story that came before. For a show famous for its blending of story, song and dance, that’s a fatal flaw.