Review: OKLAHOMA! IN CONCERT, Theatre Royal Drury Lane

In 1943, Richard Rodgers and Oscar Hammerstein II opened a musical with a difference: instead of the songs pausing the story for light entertainment, they'd drive the narrative and reveal the characters’ inner emotions. Oklahoma! became a rousing success, revolutionising musical theatre to the book format that’s now the norm.

Spawning revivals including the National Theatre’s acclaimed production starring Hugh Jackman and Daniel Fish’s stripped-back 2018 production, its impact can still be felt today. So what better way to celebrate its 80th anniversary than a starry concert in its original London home, the Theatre Royal Drury Lane?

Cowboy Curly vies for the affections of Laurey, niece of the town’s matriarch Aunt Eller. To make him jealous, Laurey takes farm-hand and local pariah Jud Fry to the night’s box social, leading to some life changing decisions.

The challenge for many a director when bringing classic musicals to modern audiences is avoiding edging into sentimentality in spite of their stories’ occasional outdatedness. Director Bill Deamer balanced the feel-good nostalgia audiences expect while acknowledging the story’s darker elements and appealing to more progressive sentiments.

The women refused to be slut-shamed or treated as prizes for men while Curly goading Jud Fry to commit suicide wasn’t played for laughs. All this led to a faithful yet murky ending as the audience questioned whether a final death was a genuine accident, intentional murder or an act of self-defence.

Like recent musical concerts, Oklahoma! blurred the line between ‘stage show’ and ‘concert’ with a semi-staged approach. Rebecca Brower’s set was backdropped by a watercolour sunrise, with minimal props including tables, hay bales and wagon wheels to immerse the audience while characters were dressed in gingham shirts and peasant dresses.

This left room for Bill Deamer’s infectiously energetic choreography, including the iconic Dream Ballet that’s was passionate as it is romantic. Ben Glassberg conducted the ever-amazing London Musical Theatre Orchestra, making Robert Russell Bennett’s luscious orchestrations of Rodgers and Hammerstein’s seminal melodies soar across the 2000-seater theatre.

Phil Dunster (Ted Lasso) was a charming Curly in his musical theatre debut, filled with wide-eyed wonder as he opens with ‘Oh What A Beautiful Mornin’ while Zizi Strallen (Mary Poppins) continued to show off her triple threat prowess as feisty Laurey. While both shared fiery chemistry and made the budding romance believable, Strallen’s soprano tended to overpower Dunster’s noticeably lighter vocals in duet ‘People Will Say We're In Love’.

Tosh Wanogho-Maud (The Drifters Girl) possessed a powerful baritone as romantic rival Jud Fry - part of you pities him in his solo ‘Lonely Room’, but his brutish side in act two made him a truly frightening presence. Bringing both community and concert together was Joanna Riding’s scene stealing Aunt Eller, her dry line deliveries causing bouts of laughter.

Christina Bianco was a hoot as flirtatious Ado Annie in her number ‘I Cain’t Say No’ while sharing witty banter with Jordan Shaw’s endearingly dim Will Parker. Irvine Iqbal rounded off their subplot as Ali Hakim with plenty of humour as he’s roped into their ‘love triangle.’ Nicole Lily-Baisden (42nd Street) showcased her impeccable dancing skills in ensemble numbers while nailing Gertie’s memorable horse-like laugh.

Oh, what a beautiful evening indeed! Oklahoma! In Concert was a triumphant celebration of the musical's 80-year legacy and lasting impact over musical theatre. With a star-studded cast who brought freshness to the iconic roles with an edge of familiarity, there was no better way for Oklahoma! to return to its original London home.

Photo Credits: Danny Kaan

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