Review: OKLAHOMA shines at the Orpheum.

Oklahoma has made its way to Minneapolis. Daniel Fish took an old classic, with music by Rodgers & Hammerstein, and re-imagined how the dark and intense themes of this classic show meet the 21st century. This is the first stop for the Oklahoma tour after its 2019 Tony Award for Best Revival of a Musical.

It's immediately evident that this Oklahoma is different from what one may classically expect. There are no elaborate scene changes, rather the entirety of the show takes place in one room with simple decorations hanging from the ceiling and walls looming with rifles. Coolers, beer cans, and the on-stage band provide a small-town feel. None of the words to this classic were changed. Instead, the way in which Oklahoma's themes are delivered given a new context.

The small company beautifully brings these themes to light. Sean Grandillo's (Curly) sultry take on "The Surrey With The Fringe On Top" could make anyone swoon. Sasha Hutchings brings deep complexity to Laurey's inner musings. Christopher Bannow pushes the audience to look at Jud Fry as more than a surly and lonely farm hand. and Sis absolutely stole the show as Ado Annie. Each member of the company brings something fresh to the table.

Although Oklahoma is an old classic, this adaptation makes the audience see the themes in a modern context; the themes still stand today. The issues of violence and tolerance bubble below the surface of each scene. It may have been easier to ignore these things when distracted by ornate costumes and extravagant sets, but this stripped down version of Oklahoma makes it impossible to ignore just how fitting this show is for today's world. Violence and tolerance bubble below our surface as well.

It seemed as though the audience wasn't prepared to face this reality. Maybe, they didn't realize they were seeing a re-imagined version of Oklahoma? Or maybe they forgot how to be a proper audience after a long hiatus from live theater? Either way, a number of audience members left at intermission or left during Gabrielle Hamilton's chilling, but remarkable ballet at the beginning of the second act. These audience members fit the narrative of exactly what Daniel Fish's version of Oklahoma is attempting to do. It's taking a classic and flipping it on its head. It's shining light in the places that were ignored before. Although that may make people feel discomfort, that discomfort is where growth occurs. Live theater is becoming more representative of the world; it's time that audiences get hip to that.

Oklahoma, although first published in 1943, is more relevant than ever. Those ready to face this beautiful reality should run to the Orpheum. Oklahoma runs until November 14th.

Photo Credit: Matt Murphy

To post a comment, you must register and login.