Review: OKLAHOMA! at Shea's Buffalo

The perfect union of story, music and dance came together that 1943 night when Agnes DeMille's signature choreography propelled the story in ways that had never been seen before. Gone were the kicklines of gorgeous girls and production number spectacles of previous eras. Based on the play "Green Grow the Lilacs," Rodgers composed a buoyant score filled with American optimism during the troubling times of world War II. Paired with Hammerstein's book and simple, yet optimistic lyrics, theatre goers witnessed a jubilant art form that would leave hope for prosperity in America's heartland. GI's would flock to hear gems like "Oh What A Beautiful Morning" and "People Will Say We're in Love," hoping that their efforts in the war would have a happy ending someday in their hometown.

Fish's ill conceived concept represents the worst of the regietheatre movement, albeit with a few redeeming factors. Set in a present day utilitarian community room decorated by walls of rifles and colored streamers, brightly lit by megawatt fluorescent lighting, we could be anywhere where people don jeans and cowboy boots. The cast is pared down to a bare minimum, with a scant 5 women and an onstage country western band. Large wooden tables and chairs allow much of the cast to remain on stage at all times, often seated while reciting their lines. The result is a combination of monotony and boredom.

Thankfully the cast gives a winning performance despite the directorial choices thrust upon them. Fish has incorporated a multi racial, ethnically diverse and , gender fluid casting approach that is happily accepted today without much question..

Sean Grandillo is simply perfection as the cowboy Curly. He embodies youth and young love with a sweet, honey colored voice as he accompanies himself on the guitar. Sasha Hutchings is Laurey, full of gumption and desires. The two develop a wonderful chemistry, often coy yet playful.

Barbara Walsh brings a no-nonsense sensibility to the role of Aunt Eller. Playing against physical type, Sis lands every laugh as the lovestruck Ado Annie. The audience loved her larger than life portrayal, especially paired with a physically much smaller love interest, Hennessy Winkler as Will Parker.

Christopher Bannow turns in a great performance as the disturbed farmhand Jud Fry. Usually thought of as a large burly man, Bannow is a slight figure that stalks with a quiet inner turmoil. He employs a robust singing voice, while his brooding conversations can erupt with danger when needed.

All semblance of dance used to advance the story is kept to a bare minimum, save for the hoedown of "The Farmer and the Cowman." The pivotal point of OKLAHOMA! comes in the miraculous Dream Ballet ( aka " Laurey Makes Up Her Mind"). Traditionally danced by a corps of dancers who double the principals, Laurey dreams of her possible life with Jud versus Curly. Instead, choreographer John Heginbotham gives us a solitary female dancer (Gabrielle Hamilton) as Laurey dancing to a cacophony of prerecorded blaring electric guitars that assault our ears. She intimates Laurey's inner turmoil with self flagellation and audible heavy breathing. Laurey's Dream is now the audience's nightmare.

Fish seems to be fascinated by the subtext in OKLAHOMA! Scenes of drama and despair literally are played in total darkness, with the actors speaking into hand held microphones. Later a hand held video camera projects close ups of the actor's face on the back wall of the set. All concept of subtlety is lost. The worst offense comes with the death of Jud. The newly married couple are covered in ricocheted blood as Curly pulls the trigger. Not since the Gothic opera "Lucia di Lammermoor" has a blood soaked bridal gown been more perverse. As the lights come down on a reprise of the title song, Curly strums with anger while Laurey is left stunned, stamping her feet and spinning center stage. Misery has sucked the life out of this Oklahoma farm and it is hard to ever fathom another beautiful morning.