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Oklahoma
Music by Richard Rodgers
Book & Lyrics by Oscar Hammerstein II
Based on the play Green Grow the Lilacs by Lynn Riggs
Directed by Damon Kiely
Musical Direction by Malcolm Ruhl
Choreography by Wilfredo Rivera
At American Theater Company (ATC)
1909 W. Byron
Chicago, IL
Call 773-929-1031, tickets $30 - $35
Thursdays & Fridays at 8 pm
Saturdays at 4 & 8 pm
Sundays at 3 pm
Running time is 2 hours, 30 minutes with intermission
Through March 18, 2007
The people’s folk operetta interpretation of Oklahoma is a stunning success
ATC’s Damon Kiely has reinvented the old chestnut, Oklahoma from a slick Broadway show into a gritty, no fringe, and folksy chamber piece. The result is an Oklahoma with heart and grassroots wholesomeness. Oklahoma is reborn from a picnic western musical to darker more realistic and grittier piece. The use of a minimal set consisting of a covered wagon that unfolds into a front porch of a farm house together with loads of wooden barrels (set design by Jacqueline and Richard Penrod) and four folk/country string, acoustical musicians gave this Oklahoma an down-home country tone.
The folk band included terrific work from Mike Przygoda (Banjo), Scott Sedlacek (guitar), Cody Siragusa (Bass) and Billy Oh (Fiddle). Under the musical direction of Malcolm Ruhl, an experience chamber arranger, Richard Rodgers’ score sounded enchanting and quaint. This string folk sounded worked surprisingly well. ATC intimate stage allowed the all natural musical and vocals to be enjoyed without amplification. Hallelujah!
Director Damon Kiely decision to have us connect with Oklahoma by casting only 12 players with the principals being actors who can sing—with the emphasis on acting first. The folksy style and deft use of Oklahoma slang speech allowed for a more grassroots character development. We see principle characters as teenagers struggling to find their soul mates in rural 1901 Indian Territory (soon to be the state of Oklahoma).
Matthew Brumlow plays Curly as a cocky and sassy guy steeped into cowboy macho. His Curly has depth, swagger and loads of charm. Brumlow sells his songs from the heart making his unpolished singing sound more like a sincere cowpoke than a Broadway leading man. That’s a plus! Katie Jeep also plays Laurey as the rural farm girl, shy, but totally in love with the brash Curly. We like these two love-struck teens. The terrific work from Suzanne Petri as Aunt Eller anchors the show. She is always in command. This production allows Hammerstein’s funny book to dominate over the songs. You’ll not see a finer acted Oklahoma then this warmly personal production. Aly Renee Greaves’ period-perfect costumes add realism as does all the dirty faces.
Casey Campbell’s Will Parker is winning as he clearly gives Parker’s denseness a cute turn. Katlyn Carlson almost steals the show with her frisky and sensual Ado Annie. Kareem Bandealy’s AliHakim was a hoot. I was impressed by Marty Higginbotham’s strong work and fine vocals playing the eerie villain, Jud Fry.
This cast of 12 sings, dances (this production has modest dancing using only steps of the time) and acts their roles with a spirited sense of community. The dream sequence has some clever and refreshingly new twists that worked extremely well. The singing reminded me of a folk concert or a group of rural folks serenading around a camp fire. We see the love story between Curly and Laurey and between Parker and Ado Annie develop in song and several cute scenes.
The Rodgers’ score is effectively delivered where the meanings and moods win over rich voices. The tunes sounded like real folks singing from their hearts. Songs like “I Cain’t Say No “ and “All er Nothin’ “ show Katlyn Carlson’s talent. Brumlow and Jeep give a richly romantic twist to “People Will Say We’re in Love.” The essence of what it means to be an American in the West in 1901 comes across marvelously in this effective and enjoyable production. The rousing anthem “Oklahoma” celebrates the sense of community in the heartland.
We see the headstrong and proud teen lovers, the communal cooperation as well as the farmer versus the cowboy feud. Strong bonds of friendship and the shared joys of weddings bring the hope for a bright future to all. Oklahoma is, indeed, Rodgers and Hammerstein’s celebration of the rural American experience. The folksy scaled down production is a well thought out piece that strips Oklahoma down to its basics without sacrificing the brilliant songs or the nostalgic feel. Damon Kiely’s direction is visionary. He proves that classics can be reduced without a loss of heart. Again, less can often be more. Come and rediscover Oklahoma—the people’s folk operetta. You’ll be glad you did—and—you’ll still leave the theater humming the melodies.
Highly Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed: February 6, 2007
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