I Cain’t Say No to watching Rodgers and Hammerstein’s Oklahoma!, so this special cinematic release was the perfect way to spend a wintry Melbourne Sunday afternoon.
The additional benefit of watching this gently innovative and yet completely respectful production again was the chance to help purge the memory of sitting through the execrable 2019 Broadway revival of Oklahoma!.
Commemorating both the 25th anniversary of the production and the 80th anniversary of the musical itself, the global screening of Rodgers and Hammerstein’s Oklahoma! is more than a celebration of the lasting power of this groundbreaking musical; it is a celebration of the life span of musical theatre itself.
Premiering on Broadway in 1943, Rodgers and Hammerstein’s Oklahoma! Is generally considered to be the first of a style of entertainment that continues to thrive today. Moving on from revues, Oklahoma! was the first piece of musical theatre to successfully integrate book, songs, dance, and design to tell tell a cohesive story. It introduced the dream ballet, and was one of the very first shows to release a cast recording with the original stage production’s orchestra and cast. Oklahoma! pre-dates the Tony Awards, but in 1944 was awarded a special Pulitzer Prize.
This screening commences with a ten-minute special hosted by Imogen Lloyd Webber, Senior Vice President of Concord, representing The Rodgers & Hammerstein Organization. This brisk, entertaining introduction places both the original record-setting season of Oklahoma! and the 1998 production in context. There are insightful interviews from key members of the 1998 team: choreographer Susan Stroman (currently represented on Broadway with New York, New York), Shuler Hensley (Jud Fry), and associate choreographer Warren Carlyle (who choreographed Oklahoma! stars Hugh Jackman and Hensley in Meredith Willson’s The Music Man on Broadway last year).
This celebrated 1998 production of Rodgers and Hammerstein’s Oklahoma! began at London’s National Theatre before transferring to the West End and then on to Broadway. Legendary director Trevor Nunn, of Cats, Les Misérables and Sunset Boulevard fame, directed the production, with choreography from Broadway’s Susan Stroman, of Crazy for You, Showboat and (later) The Producers fame.
Nunn brought out the best in the much loved material by treating it with care and giving serious attention to the text. The sense of a plucky population waiting for their territory to become a state shines through, the distinction of farmers and cowmen is clear, and women have it all just as tough as men. To this end, Laurey is first seen in rough and ready overalls rather than the pretty dress of a traditional Broadway heroine.
Placed against the hope of the people, Curly and Laurey’s romance is far more than a formulaic boy-meets-girl; the couple’s joy mirrors and amplifies the joy of their friends and family, who see a shining future for their state in this happy wedded union. There is strong impact in the action of the climax, which plays out with gritty realism, and there is no shying from the deadly consequences of the violence.
A significant attraction of Stroman’s work here is that she was granted permission to create her own new work rather than recreating the original choreography of Agnes de Mille. Key numbers were re-orchestrated, including the “Dream Ballet,” which Stroman devised afresh. In what seems a simple and almost obvious idea now, Stroman had the vision to cut Dream Curly and Dream Laurey and have the actual actors dance their own roles in the ballet, to powerful effect.
While “The Farmer and the Cowman” is an especially lively and characterful full company number, the standout new orchestral arrangement and choreography comes in “Kansas City,” featuring a ragtime dance break that Will Parker has brought back home from city streets he visited in his travels.
In the mid-1990s, Australian theatregoers were fully acquainted with Hugh Jackman’s theatrical talents after his breakout performances as Gaston in the Australian premiere of Disney’s Beauty and the Beast and Joe Gillis in the Australian premiere of Sunset Boulevard. Jackman’s star turn as Curly in this production of Oklahoma! brought him to international attention and, although he went on to focus primarily on movies, he has starred on Broadway in hit seasons including The Boy from Oz (2003) and The Music Man (2022).
Jackman makes for a ruggedly handsome, charismatic Curly and his baritone is wonderfully warm and engaging. Josefina Gabrielle deftly balances the plucky and vulnerable sides of Laurey, singing with a lovely soprano and dancing with lithe grace.
National treasure Maureen Lipman perfectly captures the combined steely grit and affectionate compassion of matriarchal farm woman Aunt Eller. Shuler Hensley is suitably burly and creepy as embittered farmhand Jud Fry, with just a touch of vulnerability thrown in to garner a degree of understanding.
Jimmy Johnston dances up a storm as Will Parker. Vicki Simon plays Ado Annie with devilish innocence. Peter Polycarpou brings a sly twinkle to the eye of flirtatious peddler Ali Hakim
Given the terrific singing and dancing talents of the ensemble, there is a surprising number of performers in the chorus and featured roles who look extremely authentic to the period and setting; this care in casting adds significantly to the genuine atmosphere.
Seen in a cinema, the filmed production plays very well, with judicious edits to skip across the scene changes and simply have the action flow on continuously. Cameras were clearly right in amongst the performers, with many compelling angles and shots achieved. A ten-minute interval allows a chance for a welcome stretch to break up the almost three-hour running time of the musical.
Lovers of musical theatre are sure to appreciate this special screening, and are encouraged to take the chance enjoy and Rodgers and Hammerstein’s Oklahoma! in cinemas the week
Rodgers and Hammerstein’s Oklahoma! plays in cinemas worldwide on 16 and 19 July 2023.
For worldwide access to Rodgers and Hammerstein’s Oklahoma! cinema tickets, click here.
Photos: supplied