SARAH PYE
Associate Editor
The way a particular company treats the title song in “Oklahoma!” says a lot about the production overall. In the current revival tour, which stops at the Pantages through Sunday, this idea certainly holds true: The title number, coming at the end of the second act, is solid, well-sung and enjoyable. And yet the song, much like the production overall, doesn’t incorporate any innovative or spectacular element that could have turned this solid production into a memorable one.
Looked at another way: For a non-equity tour, these kids do OK.
It isn’t exactly easy to have a fresh, new take on a musical such as this Rodgers and Hammerstein classic without making it unnecessarily weird. Color-blind casting is one popular option, throwing an African American Laurey or Ado Annie into the mix just to stir things up. But this production shies away from anything controversial, sticking to the basics.
The basics are generally fairly strong, especially for those who appreciate truly classic musical comedy. There’s no tale more familiar in the world of musical theater than Rodgers and Hammerstein’s story of ranchers and cowhands struggling to civilize the vast American Midwest before Oklahoma had even been made a state. “Oklahoma!” is one of the most often-revived musicals in the repertoire, but that very fact almost necessitates that directors do something interesting, or risk having their treatment of the show fade into obscurity.
The one artistic decision of note made by director Fred Hanson was to forgo the traditional double casting of the Laurey, Curly and Jud roles for the act-one closer “Out of My Dreams” ballet (or, as at least one artistic director has referred to this scene, the “Laurey takes drugs and has hallucinations ballet”).
It was interesting to find that, rather than employing a separate trio of ballet dancers to fill the Laurey, Curly and Jud roles in the dream ballet, Julie Burdick, Jeremiah James and Andrew Lebon continue in their original characters through this scene.
Burdick is convincing as a ballerina, displaying a grace and familiarity with this style of dance that her resume belies. James and Lebon, however, leave much to be desired in the dance department, making the overall ballet, which has real show-stealing potential, as quite a disappointment despite Burdick’s efforts.
As a singer, James is much stronger, with a solid vocal performance and excellent diction from the first strains of “Oh, What a Beautiful Mornin’” to the final reprise of “Oklahoma!” Though whether or not his hair is sufficiently curly is debatable, James’ performance is at all times endearing, blending the comedy, drama and foolish pride of the role into a quite likeable character.
James’ duet with Lebon on “Poor Jud is Daid” is a highlight, turning what can be a rather dry number comedic, with good timing and a wink-and-a-nudge to the audience. The harmonies between the two singers are lovely, also.
Another surprise highlight is Gordon Gray in the usually forgettable role of Andrew Carnes, Ado Annie’s father. He steals every scene he is in with his comical, short and stout persona and unusually good comic timing. Sorab Wadia as the philandering Ali Hakim also plays nicely against Gray.
Ado Annie herself, as played by Carrie Love, is entirely unremarkable, leaving generally uproarious lines to fall flat with the audience. Love’s rendition of “I Cain’t Say No” is dull where other actresses have commanded standing ovations, and we are left feeling sorry that Will Parker has to put up with her, rather than delighted to see him win her in the end.
An artistic high point is Anthony Ward’s set design. Complete with corn that really is as high as an elephant’s eye, Ward’s sets are, if not spectacular, enough to transport the audience to the 19th century American territories. Particularly effective are his use of turntables to rotate scenes and the miniature train that proved an audience favorite.
Overall, this production of “Oklahoma!” is an enjoyable classic — just don’t expect to get blown out of the water.
“Oklahoma!” plays the Pantages Theatre in Hollywood through Sunday. Tickets, priced $42 through $67, are available through Ticketmaster.
01-27-2005
