BWW Reviews: OKLAHOMA! at The Firehouse Theatre

Not only is OKLAHOMA! celebrated as the inaugural collaboration between theatre icons Richard Rodgers and Oscar Hammerstein II, but it's also credited as the first "book musical," a musical play where the songs and dances are fully integrated into the context of the show. Based on its reputation as an easy-to-produce, family-friendly favorite, OKLAHOMA! is a staple among theatres across the country. This season, the show happens to appear in several local line-ups, and last Thursday I rode my surrey out to Farmer's Branch to catch the final dress rehearsal of Firehouse Theatre's endearing production.

In the event you've somehow avoided your local high school or community theatre's inevitable production, the famous story centers around Laurey (the sweet soprano, Alexandra Cassens), a headstrong farm girl and the woman with whom both cowboy Curly (played adeptly by Tyler Jeffery Adams) and farm hand Jud (portrayed with depth by Robert San Juan) have fallen in love. When she plays hard-to-get with earnest Curly and instead accepts dangerous Jud's invitation to the upcoming box social, tensions rise between the men and capture the interest of the whole town. Set in 1906 in an Indian territory of the American West, during the time Oklahoma was being established as a state, the show boasts many classic tunes, including "Oh, What a Beautiful Mornin'," I Cain't Say No," "People Will Say We're in Love," and of course, "Oklahoma!"

Although Thursday's final dress rehearsal began at a moderate pace, it quickly picked up when Rebecca Paige entered as Ado Annie. With impeccable comic timing and a stellar voice, Ms. Paige had the audience following her every move.

Similarly, Hunter Lewis, who displays a knack for both verbal and physical comedy, was a scene-stealer as the lascivious peddler. Although it's not actually defined in the show, I interpreted Lewis' portrayal as a conman who simply claimed to be Persian, making his over-the-top delivery priceless. Hopefully anyone concerned with the show's questionably racist overtones will agree.

Both Cathy Pritchett, as Aunt Eller, and Andrew Carnes, as Pat Wilson, deserve praise for their accomplished performances. Like many of Rodgers and Hammerstein's shows, OKLAHOMA! has an array of supporting characters, so rising above the enthusiastic company was undoubtedly a challenge.

Especially for a rehearsal environment, director Michael Hollomon earns kudos for preparing the cast to perform with such confidence. Mr. Holloman succeeds in painting a clear, heart-warming picture of this beloved (if not one-dimensional) show. With one interesting exception (where the male ensemble seemed to loot Laurey's house during her final song with Curly), the direction is duly simple and pure. Effective costumes (by Stefanie Glenn and Courtney Holleyman), lighting (by Branson White) and sound effects enhanced the evening as expected for this particular show. On the other hand, choreography (by Amy Cave) was a bit of a mixed bag, ranging from muddled marching to rudimentary ballet combinations. The final number, where audiences expect a final surge of energy, is a particular let-down, with cast members parking-and-barking the song from the edge of the aisles, where they essentially remain through "Finale Ultimo."

With OKLAHOMA!, The Firehouse Theatre has offered great opportunities to a handful of eager, amateur actors (one of whom, the energetic David Bates, gets his feet wet in the leading leading role of Will Parker--in his second ever musical!). Given the theme of community that is ever present in this musical, I can't imagine a more fitting show for a community group of such varied experience to come together.

OKLAHOMA! continues at The Firehouse Theatre through August 2nd, with performances Thursdays, Fridays, and Saturdays at 7:30pm, and Saturdays and Sundays at 2:30pm. Get the best available seats by contacting the box office at 972-620-3747 or visiting www.thefirehousetheatre.com.

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