Review: OKLAHOMA at Desert Theatricals

Whether you have never seen a production of this Broadway classic, or it’s one of your all-time favorite musicals, I recommend getting tickets to see this traditional retelling of the original 1943 masterpiece. This was the first musical collaboration of Rodgers and Hammerstein ll -- What makes the history of this musical so important is that in the early days of Broadway, the lavish productions would perform big splashy spectacles for the opening number.  However, OKLAHOMA begins at the rise of curtain with a woman sitting alone churning butter, and enters a handsome cowboy to sing a solo. Unheard of! Another groundbreaking fact is that Oklahoma was the first musical to use song and dance to progress the storyline forward, and the scripted dramatic arch Broadway book-show was born.

You know all the songs – Oh What A Beautiful Mornin’, Surrey With The Fringe On Top, I Can’t Say NO, Kansas City, People Will Say We’re In Love, and more!  Relive the best that Rodgers and Hammerstein have to offer with this all-time favorite!

By now, I’m sure my past reviews-of-praise for Desert-Theatricals productions have become monotonous. What more can I say?  They are the professional leaders of musical comedy productions here in the desert. Surpassed by no other company! Director/ Choreographer Ray Limon took a classic and kept it purely traditional.  There is no stunt casting, or re-envisioning, no gender swaps, and no 2024 gimmicky additions to steal focus from this quaint old-fashioned musical. His choreography is clever, draws on the strength of his dancers, and is always clean. Bravo!

 The story is based on the 1931 play “Green Grow The Lilacs” by Lynn Riggs. The primary location for this piece is set back in 1906; a farm country outside of Claremore, Oklahoma.  In a nutshell: Handsome Curly McLain (Jordan Killion) sings about this beautiful morning as he visits farm girl; pretty Laurey Williams (Ava Sarnowski) who lives with her Aunt Eller (Beverly Crain).  

Killion is a gifted singer who has a Broadway-quality voice – very reminiscent of Gordon MacRae (Curly in the 1955 film version) – Killion plays Curly carrying an enormous bucket of charm. From the moment he is heard singing “Oh, What A Beautiful Morning” you know that he alone was worth the price of admission.

Sarnowski is a strong, extremely capable, actress and beautifully skilled dancer who just last month showed off her versatility as Lola in Damn Yankees.  This time, as Laurey, she is still wonderful but falls a bit short when compared to the other strong professional performers who surround her. And, yet, we do see the many reasons Curly loves her. 

Crain would have been better served playing GREAT-great-Aunt Eller. By far, the oldest Aunt Eller portrayal I have ever seen. Crain swallowed most of the ends of her dialogue and what we could hear she softly threw away. She did, however, manage to make several of the real comedic laugh lines land. With a strong legacy of no-nonsense actresses (Mary Wickes and Charlotte Greenwood) having performed this role, the shoes were far too big to fill.

As the story moves on; planned for the evening is a traditional box social dance, which includes an auction of lunch baskets, prettily prepared, by the young local women to raise funds for a new schoolhouse. Each man who wins the auction bid for a basket has the opportunity to eat lunch with the pretty little lady who prepared it. Curly asks Laurey to go with him, but she constantly gives mixed signals – I like you. I loathe you. I want you. Leave me alone  --  she refuses Curly in order to keep him hanging on her very short leash.

The lonely farmhand Jud Fry (James Hormel) has become voyeuristically obsessed with pretty little Laurey and asks her to the dance. She accepts childishly to spite Curly, although she is terribly afraid of Jud.  What could possibly go wrong?

Hormel is a Desert-Theatricals Company regular. His powerfully rugged good looks seem to be the prerequisite for the characters he is mainly asked to play. Below this lofty light-hearted musical comedy is the darkly foreboding shadow of Jud Fry. Hormel brings the earthy sexuality and frightfully disturbed qualities of this character to life with such natural ease. And outstanding performance.

Meanwhile, cowboy Will Parker (Danny Hansen) returns from a trip to modern Kansas City and shows off his souvenirs. He won $50 which is equivalent to $1,735.18 by today’s standards.  He was promised the hand of his girlfriend Ado Annie (Lizzie Schmelling) and according to her father that is exactly the amount he needs to get married. Unfortunately, Will spent all the money on gifts which included “the Little Wonder” (a metal tube used for looking at bawdy girlie pictures).  Ado Annie has confessed to Laurey that while Will was away, she has spent a lot of private time with Ali Hakim (Jeffrey Scott Adair) a Persian peddler. Laurey says she'll have to choose between them, but Ado Annie insists she loves them both. Her flip-flopping indecision is perfection.

We certainly couldn’t tell which man Ado Annie loved more. Schmelling, Hansen, and Adair had, by far, the best chemistry of the evening. The impeccable threesome was brought together by the irrepressible and flirtatious Ado Annie. Schmelling did it again.  This fine young actress is a damn chameleon.  Ado doesn’t have a lot of depth to her personality; she is hyper-focused man hungry.  Schmelling squeezes out every ounce of comedy during her time on stage. Character-driven, manipulative, and hilarious – As an audience favorite she was definitely one of the stars to raise the bar on opening night.  

Hansen is perfect as Will. He shines with a strong stage presence, good dancing ability, a boyish enthusiasm, and an infectious joy he naturally brings to his role.  Most notably he is showcased during “Kansas City” (with the other cowboys) and “All ‘Er Nothin” (with his beloved Ado.)

If Adair weren’t sharing his scenes with Schmelling & Hansen he would have run away with the entire show. He was born to play the role of Ali Hakim.  His hilarious portrayal established him as a comedic contender and another obvious star of the evening... Every scene he stepped into was brightened considerably. On opening night Adair was the only cast member to get appreciative applause on an exit line – deservedly so.

2 minor characters that made a wonderful impression were the annoying and obnoxious laugher Gertie (Alexandra Ottoson)  She’s in love with Curly, but fate has other plans for her.  Ottoson is perfect and deliciously off-putting with her grating laugh. At one point, we hoped someone would throw Gertie into Jud’s Smokehouse and lock the door behind her.  And Pa Carnes (Glenn Liggett) the strong gun-toting daddy to Ado Annie. Liggett looked as if he were pulled from a 1906 Oklahoma Farm and Ranch Magazine – perfectly cast.

Some of the hardest-working ensemble players in town grace the stage in this production.  This is a fast-paced dance show with entertaining production numbers.  Mathew Tucker, Xavier Brown, Charlotte Upp, Cristian Fonte, Billy Franco, Alessandra Di Pierro, Koby Queenen, Rita Wagner, Zooey Velasquez, Lucy Rekuc, Miguel Olivas, Gene Strange, Joanne Mulrooney Moser, Rick Baldwin, Lois Bondurich, and Joan Vento-hall.   

Josh Carr – Musical director/Conductor – has the best job bringing quality live theatre musicians to the masses. If you have read my past musical reviews you’d know that I dislike Karaoke theatre with canned tracks. It is a pleasure to sit and watch a Desert-Theatricals production because they always have a live orchestra to elevate the already impressive theatre-going experience. Thirteen high-caliber musicians: Frank Giordano (Keys), Robert Scarano (Guitar/Banjo), Larry Halloway (Bass), Robert Forte (Percussion), Teresa DiPietro (Cello), Cindy Brogan (Violin), Charlie Viehl (Violin, Alan Yankee (Reeds) John Reilly (Reeds, Debbie Cox (Reeds) Don Clarke (Trumpet), Alex Hemderson (Trombone), Lisa Cherry (French Horn).  Once again, a superior job well done.  I thank you, and my discerning ears thank you.

The Desert-theatricals production team is always at its best.  Costumer Leslie Upp outdid herself and with her past triumphs that couldn’t have been easy. Nick Wass and his Projections are always a nicely added touch. Rounding out the team are Gavan Wyrick - lighting designer and Sean Gabal – Sound designer.

OKLAHOMA continues to run May 3rd, 4th, 5th, 2024

Gates open and Willies Bistro available for food service and bar at 5:30pm

Dinner Theatre - dinner served at 6:15pm

Show begins at 7:30pm

General Admission ticket holders can enjoy food and beverage options from Willie's Bistro. Dinner Theatre ticket holders enjoy waiter-served meals at their reserved tables in the first three tiers of the theatre. There is no outside food or beverage allowed in the amphitheater.  Full bar service is available.

General Admission $53.50 (includes processing fee)

 https://www.desert-theatricals.com/broadway   or call: 760-620-5993

Photo Credit: Jennifer Yount Photography

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