Oklahoma! returns to Broadway! Stripped down to reveal the darker psychological truths at its core, Daniel Fish's production tells a story of a community circling its wagons against an outsider, and the violence of the frontier that shaped America.
Over 75 years after Rodgers & Hammerstein reinvented the American musical, this is Oklahoma! as you've never seen or heard it before - reimagined for the 21st century.
This isn't a case of redefining a character but of acknowledging a character's secret self. It's no gimmick, then, but a stroke of directorial invention to play some scenes in complete darkness - the better to allow that private self to step out from the shadows and declare itself. In that spirit, Fish exposes those sexual passions that are kept firmly repressed in traditional productions. (In this version, Curly and Laurey are free to enjoy some candid make-out sessions.) The only failure with this let-it-all-hang-out directorial style is the Dream Ballet, which is supposed to hint delicately of the lovers' yearnings but is here allowed to go on ad nauseam.
Many of the vocals avoid the bravura in favor of the isolated choke. Most of the dance has been cut; what survives is largely an expression of individual feeling, as when Gabrielle Hamilton dances a solo dream ballet, clad in an ironic 'Dream, Baby, Dream' shirt, wherein it seems America might crush Laurey under its oppressive weight. No wonder Rebecca Naomi Jones plays the putative romantic heroine as unhappy throughout, removed from her world, aware of her own metaphors, interested in a furtive fumble with Jud Fry (the excellent Patrick Vail, who avoids all the usual tropes) but clearly far smarter than her daffy Curly (Damon Daunno).
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