BWW Reviews: OKLAHOMA! at Cumberland County Playhouse

Could there possibly be a showtune more rousing than the eponymous "Oklahoma!" from Rodgers and Hammerstein's historic musical - or an opening number more iconic or more easily identifiable than "Oh, What a Beautiful Mornin'"? With lyrics and melodies so memorable that you're likely to find yourself singing along (perhaps even before you realize it!) anytime you hear them played, they are among the best-known songs in American musical theater.

Sure, there might be other songs that one can compare to those two, but clearly Oklahoma! did it first, claiming its place in musical theater history while ensuring that the musical will continue to be appreciated for generations to come. Audiences are given an opportunity to revel in the glories of what is arguably Rodgers and Hammerstein's most famous show, thanks to a splendid revival of Oklahoma! now onstage in Crossville at the equally historic Cumberland County Playhouse, which provides the perfect home for this near-perfect musical revival, which is sumptuously staged and brilliantly performed. In short, you'll find an Oklahoma! that I daresay the Messrs. Rodgers and Hammerstein themselves would love.

Directed by the Playhouse's producing artistic director, Jim Crabtree (whose father Paul Crabtree founded and created this amazing theatrical edifice in the rolling hills of rural Tennessee; having returned to his roots after forging a noteworthy career on Broadway, including a stint in the original production of Oklahoma!, in which he played Will Parker to much acclaim), this production is obviously a labor of love, representing the very best of the Crabtree family's theatrical legacy, exemplifying the clan's artistic vision and the vibrant culture of theater they've created and nurtured in Cumberland County since the mid-1960s. While the Playhouse's efforts have always been stellar and justifiably acclaimed, audiences in the 21^st Century are able to see the company at its very best. Consistently, Cumberland County Playhouse presents the best musical theater offerings you're likely to find outside of New York City and it is clear that Oklahoma! provides another link in the chain of hits that are part of the family tradition.

Joe Varga's beautifully designed set for Oklahoma! provides a picture-perfect setting for the musical, while Emily Becher-McKeever's exquisitely realized lighting provides the perfect illumination for this time-honored tale of life, love and romance - and two men vying for the attentions of a beautiful young woman - in the Indian Territory, just prior to its 1907 entry into the Union as the state of Oklahoma. In keeping with the family nature of The Playhouse, costume designers Renee G. Luttrell and Rebel Mickelson have adapted the original costume designs of family matriarch Mary Crabtree to complete this sumptuous production in proper style.

With the expert music direction of Ron Murphy, who conducts the ensemble of eight musicians in the orchestra pit, Rodgers' lush and deceptively opulent - you think of Oklahoma! and you tend to think of a more rustic musical vernacular - score has never sounded better or more rousing. With a large cast of remarkable performers bringing the show to life, the production's singing is heartfelt and enthusiastic, an absolutely beautiful vocal sound washing over you throughout.  

Leila Nelson, who has literally grown up at The Playhouse, has taken over the reins as choreographer of Oklahoma!, delivering some wonderfully evocative, yet completely original dances for her cast, capturing the joyous feel of the piece while reminding you - particularly in the "Dream Ballet" sequence that features the exceptional dancing of Ali Gritz and Austin Price - of the show's legacy of dance from the original choreography of the legendary Agnes deMille.

So, clearly, the framework is in place to allow the cast - which includes some of The Playhouse's favorite actors from throughout its history - to take a musical that could very well be tattered and shopworn and to soar with it, creating an energetic fluidity for the show that is certain to enthrall audiences of all ages, regardless of their knowledge of the show's place in musical theater history. Whether they've seen the show 20 times, or even if it's the first time to meet Curly and Laurey or to hear Ado Annie lament that she "cain't say no," audiences will leave the theater singing the songs and moving to a more joyous beat in their hearts, thanks to this superb production of Oklahoma!

Leading the cast as the winsome Laurey and the dashing cowpoke Curly is the recently married - and stunningly talented - pair of Nicole Begue Hackmann and Nathaniel Hackmann, whose offstage chemistry allows them to play the iconic romantic couple with a shared sense of trust and confidence. Both the Hackmanns have stunning voices and they bring the wealth of their skill and talents to the stage to deliver versions of these songs that will eradicate any preconceived notions you might have. Nate Hackmann's show-opening rendition of "Oh, What a Beautiful Mornin'" and "The Surrey With the Fringe On Top" are both beautifully nuanced, his impeccable phrasing capturing both songs' sense of awe and wonder, making it seem as if it's the first time you've heard either (and my earliest memory of these songs hearkens all the way back to my first year of elementary school). Nicole Begue Hackmann's "Many A New Day," with the support of the women in the ensemble, is gorgeously performed, while the couple's version of "People Will Say We're in Love" showcases the song's lush melodies and Hammerstein's clever lyrics to perfection. You cannot help but walk away from Oklahoma! without falling a little bit in love with Laurey and Curly and the sweetly sentimental courtship played out onstage by the Hackmanns.

Cast as the dastardly Jud Frye, the sour and swarthy hired hand on Laurey's farm, Britt Hancock creates a portrayal unlike any Jud you may have seen in the past. Hancock's Jud is more threatening, which provides a deeper, more sinister undercurrent to your typical musical theater bad guy and provides a greater sense of urgency in his efforts to claim Laurey's affections. Hancock steers clear of any cartoonish play-acting, instead crafting a performance that is more contemporary (let's face it, Jud's a porn-addicted cretin), yet remains true to the character's origins. The incredible dynamic that exists between Hancock and Nate Hackmann during their scene in Jud's smokehouse adds tremendously to the duo's performance of "Pore Jud is Daid." And in a show that overflows with memorable tunes, Hancock's performance of "Lonely Room" may be this production's finest example - without question, his performance of the song is the best you'll ever hear. Truly, it's extraordinary.

Leila Nelson does double-duty, choreographing the production while playing the role of Ado Annie Carnes with a self-assured comic sensibility that blends perfectly with her stylish flair. Her Ado Annie is funny and lovable - and completely believable and appealing. To her great credit, she more than holds her own opposite two of The Playhouse's most estimable leading men: Jason Ross (playing Ali Hakim) and Daniel W. Black (Will Parker). Ross is well-cast as the supposedly Middle Eastern peddler, delivering his lines with raucous, yet perfectly timed abandon, utilizing an accent that might rightfully be described as "all over the map" to make it impossible to determine Ali Hakim's homeland. The always charming Black's take on Will Parker is definitely on-target and his performance of "Kansas City" is exactly what you want to hear. Both Ross and Parker deliver the goods in their scenes with the delightful Nelson and there is a certain lilt to those scenes that helps to counter-balance the show's weightier plot points.

With a superb vocal and dancing ensemble backing up the principals, the show's big numbers - including the title tune and "The Farmer and The Cowman" - are terrific, colorful, boisterous and fun. In fact, you might find yourself moving west after hearing the company sing so heartily of "Oklahoma!" Longtime Playhouse resident actress Carol Irvin is an appropriately droll and spirited Aunt Eller, while Dennis Donald has a particular laconic grace as Ado Annie's long-suffering father. Lindy Pendzick is annoyingly funny, but creates a likable Gertie Cummings, despite the role being largely thankless.

- Oklahoma! Music by Richard Rodgers. Book and lyrics by Oscar Hammerstein II. Directed by Jim Crabtree, with associate directors Britt Hancock and Nicole Begue Hackmann. Music direction by Ron Murphy. Choreography by Leila Nelson. Presented by Cumberland County Playhouse, Crossville. Through September 2. For reservations, call (931) 484-5000.

Nicole Begue Hackmann and Nathaniel Hackmann in Oklahoma! at Cumberland County Playhouse

To post a comment, you must register and login.