OKLAHOMA! Previews- Page 12

[binau]

Posted: 4/22/19 at 8:30am

I’m writing this mainly to try and help me remember the experience in the future - I must admit as the years go by the recollection of shows can get a little hazy. Looks like things are not going to get better for Laurey, who has already been set up to have some kind of dark past or conflict. Hopeless. 

So I wouldn’t have before today described myself as a big Oklahoma fan - I saw the Hugh Jackman version years ago and I always somewhat dismissed it as early R&H - a little too sentimental sounding and frivolous feeling for my tastes, except that “lonely room” always stood out to be as oddly modern and dark in style compared to the rest of the score (and the only song I really revisit much).

Anyway, the hype around a ‘darker’ anything always interested me so I bought a ticket but of course I always had a little bit of skepticism - how can they make this text and score that ‘dark’? Flash forward to the bright lights of the show (including not dimming the lights of the audience), the cheap but immersive wood panels everywhere, gun fixtures, tables with food, plastic overhead decorations etc. and I was still unconvinced. As the opening number started, I was immediately captured by the new arrangement and performance. “Oh what a beautiful morning” has been transformed into what I used to think was a bit of an overly sentimental/optimistic song into 1. A really good exposition of the time and place with the bluegrass/country/‘bright star’ feel, and 2. Something a little bit more complicated in terms of characterisation. With his boyish smile, movement, guitar playing and vocal inflections it also seemed to be an attention-seeking exercise on Curly’s part to gain the attention of others, especially Laurey. Almost desperately so.

By this stage, I’m also starting to suspect there is something a bit conflicted or tormented in Laurey. While the slow tempo of ‘Surrey’ and the moment of mood lighting (which is made much more effective given the earlier brightness) make it clear there is chemistry between them, Laurey’s brooding and hesitation to me suggests she is more than just playful or being coy but has some kind of complicated backstory that prevents her from getting with Curly (which isn’t explored but I think we can use our imagination that something deeper might be going on). This conflict continues through ‘Many a new day’ where it is clear that actually she can’t just shake these feelings - and I love the comedy/subtext of the girls breaking the large phallic-like corn towards the end of the song.

Also, one very very effective device is to have them all basically on stage, watching each other - you can see right from the beginning the jealousy in Jud’s eyes when he watches Curley and Laurey interact, and the occasional admiration and happiness when he sees Laurey do something funny or sweet.

“I can’t say no” is very fun and lively, although I think the actor might be a little too broad for my tastes especially vocally and think some of those shrieks can probably be toned down a little. However, again there is now an underlying subtext to the song in my opinion given she is in a wheelchair. Is there now a deeper reason she can’t say no? Such as an incredibly fragile self-esteem and a lifetime of rejection that as soon as any guy talks ‘purdy’ she needs to jump on the chance (horrible pun not intended) to seek validation and feel loved? And the whole subplot with Ali seems more sinister. Is there a reason why he doesn’t want to commit to Ado beyond use her for some quick fun?

The flirtation with the underlying subtext of conflict in Laurey continues through “People Will Say We’re in Love”. But the show takes an incredibly, incredibly dark and dramatic turn when the lights are shut off and a jealous/manipulative Curly is convincing Jud to kill himself. I found this whole scene chilling - Curly’s psychopathic unemotional description of how Jud can hang himself and then later the close ups to each of their faces describing what will happen when he does (Jud, whose childish but deeply sad and pathetic eyes go wider as he imagines the scene of admiration Curly describes if he dies, and Curly, who is now full blown psychopath staring right into Jud’s face just inches away with no hesitation). Absolutely chilling. Again the darkness is so effective given how bright the show is earlier, and the sinisterness of the scenes. The gun shots heighten the tension and feel louder and more real than any guns I’ve heard in a theatre before.

By this stage, I feel deeply engrossed in the tension and horror of what Curly is doing - to be honest it made the character seem like Norman Bates to me and I was thinking if exaggerating his psychopathy would essentially ruin the show because in my eyes he can never, ever make up for what he has done.

The perfect segue into ‘Lonely Room’, which has always worked very well for me - but especially now because of the tension in the earlier scene, watching him observe the show events, and a very good characterisation (he isn’t ugly and obscene like previous interpretations, he is somewhat attractive but terribly creepy, pathetic and lonely. Like the kind of boy that might conduct a school shooting). This was such an emotional moment, and those screeching violins are etched in my brain. I really want the recording badly. What was especially creepy about the song is how it ends with him bellowing and starring at Laurey. It feels dangerous.

My memory is now a little hazy because I can’t stop thinking about what I have just seen in the previous scenes, but if I recall there is a very odd atmosphere as Laurey songs acapella “out of my dreams” to close the act. Given the silence of no instruments and everything that has just happened I THINK it created a kind of uneasy mood about what is to come, but as I said I’m a little hazy.

Act II starts with the infamous dream ballet. I was absolutely floored with the arrangement and hope every note makes its way on the recording. However, I must admit overall I didn’t ‘get it’. With the modern dance style, the very modern ‘Dream baby dream’ style shirt and the modern musical arrangement it almost looked like the dream was some kind of premonition to future conflict but I really don’t know. I was moved by the music so it didn’t take me out of the moment, but I couldn’t help but feel it looked a bit like the zombies rolling around in the movie ‘us’ or a parody of post-modernist dance style. What it was effective at doing though is creating a tense mood that continued for most of the second act.

The highlights of Act 2 for me were the creepy scene under the fairy lights where Jud speaks in his creepy pathetic voice that he remembers everything about her and every interaction he ever has had with her. The kiss sound was gross and the rejection set up so well. Given the earlier happenings it was scary and you genuinely felt like you weren’t sure what Jud was going to do, and understood immediately why she wanted to seek protection from Curly. Even though by this stage he has been set up as an abhorrent psychopath, for the sake of her own safety it felt warranted and needed for his character to protect her.

But of course it’s those final moments that have stuck with me most. When Jud walks in at the wedding party given the earlier happenings I knew something tense was about to happen. I was SHOCKED when Curly shot and both he and Laurey were covered in blood. Due to some clever direction the tension is enhanced because Judd is still standing and you aren’t sure who has been hit. Kind of reminds me of the end of season 7 in Dexter (if I recall) where you aren’t sure who has been shot initially. But then of course Jud lies down with blood on him and he has been shot.

Those final line readings were also incredible - Curly is basically a psychopathic murderer who has killed in cold blood but the group is rallying around him, threatening if he isn’t let go. Mary Testa whose character up until this point was rather sweet and motherly goes into full protection style sinisterly saying they aren’t going to let him lock up Curly. Chilling.

When the reprise of the title song happened something seemed off- the characters are looking into the audience as if something is terribly wrong, and then I see Laurey who is breaking down covered with blood. It’s such an odd feeling and subtext to be watching this while they are singing what they are singing.

I am absolutely floored with this production! Incredible. Especially after being rather disappointed in ‘Kiss Me Kate’ yesterday it was nice to be swept away.

If I were to criticise I acknowledge this show, like Once On This Island (which I also loved) is in the school of perhaps being over-directed. And in particular this production does not really trust the material - Jud’s killing, the characterisations and the arrangements (which are far more significant than just re-orchestration) are very significant changes that in my opinion are not likely what the authors intended. I really wonder what Sondheim would have to say about this production - I suspect he’d hate it (though I hope he wouldn’t). I must admit if I deeply cared about the material it might bother me, but I’m not attached. I see the changes to improve in nearly every way. Describing them here the production almost seems absurd - but it felt right in the moment.

Come Tony nominations, I’d love to see:

* Best Revival (with a clear win)
* Best Direction
* Best Actor (Damon)
* Best Actress (Rebecca)
* Best Supporting Actress (Ali)
* Best Supporting Actor (Patrick Vaill)
* Best Lighting
* Best Scenic Design
* Best Orchestrations
* Best Sound Design

With a potential nomination for Mary Testa.

Updated On: 4/22/19 at 08:30 AM

[Someone in a Tree2]

Posted: 4/22/19 at 4:44pm

Let's get the news out of the way at the top: this production is hands down the one we'll remember for years and years as the worst thing we've seen in a Broadway house in this century.

That said, I'll pay good money to see Damon Daunno in anything. That man is a rare talent who galvanizes every scene he's in, no matter how idiotic the staging that surrounds him. Magnificent voice, magnetic eyes, great guitar-wrangling, the whole package. I'll also single out Ali Stroker for great work that actually felt very Rogers and Hammerstein in its dopey purity. And all glory to Daniel Kluger whose orchestrations were spectacular in all the right ways. The music-making was glorious, even if my seat (B105) was directly behind the damn double bass for most of the show.

A short list of things I hated: the lights that were either on, off or green. (My husband wore sunglasses to minimize the glare.) The set that held zero surprises and littered the floor with giant pits which prevented any sort of full out dancing. The book staging that consisted of 8 actors sitting in chairs like a first table read, shouting their lines across the room at each other. Aunt Eller, a vanity-free salt-of-the-earth gal rocking a fringed denim smock and peroxided permed curls on a work day. Huh?? Jud deserved better than to have his 2 best scenes plunged into darkness, like his own story line didn't merit keeping the lights on for. (Patrick Vaill was out, and Chris Bannow did fine as Jud, though his pure Broadway voice tone seemed a little at odds with the rest of the show.) And don't get us started on the ballet...

I could have shortened this list to say I hated everything about Daniel Fish's direction, period. Community theater doesn't begin to describe the ill-informed hubris at work here. I lost count of the number of times actors upstaged themselves singing full songs with their backs to the majority of the seats. My only fear is that Tony voters drink the KoolAid and award him a best director nod for this dreck -- God help the next classic of the golden age he decides to get his hands on.

[Huss417]

Posted: 4/22/19 at 7:56pm

Someone in a Tree2 said: "Let's get the news out of the way at the top: this production is hands down the one we'll remember for years and years as the worst thing we've seen in a Broadway house in this century.
"

I am now going to sound old. I have been seeing Broadway shows for 45 years. This version of Oklahoma has stayed with me since I saw it. I can't even put it into words why but that is what I love about theatre. 

Could I recommend this to all my friends? No. But taking my niece this week as I think she will appreciate it as much as I have.

 

[poisonivy2]

Posted: 4/22/19 at 9:15pm

Someone in a Tree2 said: "Let's get the news out of the way at the top: this production is hands down the one we'll remember for years and years as the worst thing we've seen in a Broadway house in this century.

That said, I'll pay good money to see Damon Daunno in anything. That man is a rare talent who galvanizes every scene he's in, no matter how idiotic the staging that surrounds him. Magnificent voice, magnetic eyes, great guitar-wrangling, the whole package. "

I thought that he looks and sounds remarkably like the Sun-Records era Elvis Presley.

https://www.youtube.com/watch?v=NmopYuF4BzY

[OMG U Guyz]

Posted: 4/23/19 at 1:46am

I will be very disappointed if it does not win the Tony for best orchestrations.

[SugarButterBroadway]

Posted: 4/24/19 at 2:20pm

Not particularly sure if anybody has mentioned this, but I believe that the cast recording is set to come out on June 28th, as it says so on the Amazon page for the recording: https://www.amazon.com/Oklahoma-2019-Broadway-Cast-Recording/dp/B07QMB5L5T?tag=univemuisc-central-21&ie=UTF8&linkCode=as2&ascsubtag=ffb633b622908819b14eb2cfa7e23186

[Jordan Catalano]

Posted: 4/25/19 at 12:30am

I just got home from this. I’d heard it was a new approach and to just go in blind so I have avoided all threads and conversations on it.

I’m...confused. So there were a group of people who got together and thought that “Oklahoma” needed to be done this way. Why? It reminded me of “Our Town” and not in a good way. Everyone sitting on chairs, speaking their dialogue in a monotone voice is supposed to convey what, exactly? I got the feeling that there was a message (or ten) that they were trying to get across but it never did. There were some good things - Ali Stoker, Mary Testa, dude who played Judd, the whole cast really. I can’t fault them for the show but what the hell show were they in? And my God, that dream ballet where that girl scoots her ass up and down on the stage like a dog who’s scratching its ass, was one of the most bizarre things I’ve ever seen.

My brain is just all jumbled up right now with too many thoughts to make any sense of them tonight.

Updated On: 4/25/19 at 12:30 AM

[disneybroadwayfan22]

Posted: 4/26/19 at 9:05am

Any off days for Ali and Mary in May? I'm aiming for the 15th.

[Huss417]

Posted: 4/26/19 at 9:28am

disneybroadwayfan22 said: "Any off days for Ali and Maryin May? I'm aiming for the 15th."

With Tony voters coming in May I would think attendance record would be very good. I'm assuming Maryin May is some strange spell check for Mary Testa?

 

[Skip23]

Posted: 4/27/19 at 12:24am

 

I just saw this.

Only way I could justify Curly killing Jud was the moment in the smokehouse when, on video, Curly and Jud's mouths got thisclose.  Was the killing a homophobic reaction on Curly's part?  No really...I'm serious.  And why was Laurey so angry???  

 

Other than that, what's the sense of this new take on the material?  To me it just served to make the long show more boring than it has been in previous productions (see the last Broadway revival).  The only one I've liked was William Hammerstein's revival in the late 70s with Lawrence Guittard, Christine Andreas, Christine Ebersole and Harry Groener.  Perfection.

 

 

[Jordan Catalano]

Posted: 4/27/19 at 12:26am

But seriously - WTF is with them almost kissing?

[Skip23]

Posted: 4/27/19 at 12:30am

Jordan Catalano said: "But seriously - WTF is with them almost kissing?"

 

Glad someone else caught that!

 

 

[binau]

Posted: 4/27/19 at 6:30am

I thought it served two purposes:

* It is incredibly creepy and confrontational. To me it heightened the intensity of the scene.
* It was almost somewhat cute in a weird ****ed up manipulative way. The whole scene was probably the most ‘friendship’-type connection Jud has had in a very long time (which is pretty sad and pathetic), so I took it to be part of Curly’s strategy to manipulate Jud into killing himself.

[BwayinVan]

Posted: 5/5/19 at 9:31pm

I saw this on Thursday. I went into it completely blind having never seen the show or heard the music. I am one who enjoyed it as is my sister-in-law who had seen it in the past. It was the show of the week that we were still talking about yesterday. That being said, there were defintiely people in the audience who hated it. The lady in front of us could not stand it and was very vocal of her opinion at intermission. I though Ali Stroker was fabulous, she is definitely delivering a tony nominated performance. The one thing I found annoying was the fact they left the house lights up throughout the show. I don’t think it added anything and I found myself getting distracted by audience members. Also, the portions where is goes completely black were weird. That part left me confused. I always try to see something that I could only see in NYC and this is defintiely that show

[Zion24]

Posted: 5/5/19 at 10:59pm

can I ask a dumb somewhat unrelated question? 

Why wasnt Oklahoma! nominated for any Lucille Lortel awards? 

[KnewItWhenIWasInFron]

Posted: 5/13/19 at 5:55pm

Absolutely loved every single second of this production.

1. I don't think the comment about people on the floor getting chili has been fully addressed. Everyone gets it -- or, at least, until the chili runs out (which it did Saturday).

2. It looks to me like the worst place to sit would be at would could be called the right top of the U. That's where I was and it was a bit difficult to see around the wall that's been erected there. I didn't miss a ton, but I did miss a bit when people were at the right base of the U.

3. OlBlueEyes wrote about the "shabby" treatment of Jud in the original production. That's very definitely addressed in this, which has a more sympathetic take.

4. I get why the performance as Laurie is divisive, that she's not "likable." But what women, being bought and sold in a misogynistic culture, would be? I loved her choices and, I'm not sure of this, but wondered if she only comes fully alive when she's singing, dancing or in the secret dark.

5. The vocal arrangements of "Oklahoma" and "Farmer and Cowman," in particular, are so thrilling!

[Kad]

Posted: 5/14/19 at 10:16am

JDonaghy4 said: "can I ask a dumb somewhat unrelated question?
Why wasnt Oklahoma! nominated for any Lucille Lortel awards?"

Not a dumb question! The Lortels' eligibility can be confusing. Productions that take place outside of Manhattan aren't typically eligible. "Off-Broadway" has a specific meaning when used by the Lortels and the Off-Broadway League, which is defined by the Actors' Equity Off-Broadway contract as referring to productions in Manhattan in venues of 100-499 seats. 

 

[Zion24]

Posted: 5/14/19 at 10:53pm

Ah that makes sense. It struck me as odd that Oklahoma! wasnt nominated for anything there. Thanks!

[Zion24]

Posted: 6/13/19 at 12:14am

finally saw Oklahoma! and I am sorta befuddled by some of the reactions here. i have never seen any other production of this piece, and to me the play itself is problematic, but this production is mostly glorious.

the lyrics are plain genius, and its hard for me to imagine a production that isn't dark and brooding and sexually charged like this one. there is a happy, peppy version of this show? with this book? how is that possible? My takeaway is not that Daniel Fish did anything revolutionary; he just laid bare a completely disturbing storyline. The result is mostly thrilling and at times not as much (the dream sequence...no thanks), but I left thinking that any less intense/dark version of this play would be insufferable. 

Despite the flaws in the book, its hard to find fault with this production: the music sounded incredible, the cast sings like champions.  Everyone nailed the comedy- Will Brill was particularly spot on. Contrary to prevailing opinion, I thought Damon Daunno was the weakest link here: he sings beautifully but his Curly was a total blank, waffling from charming to douchebag without any explanation (though he certainly brings heat to his duets with Laurey and his also his confrontation with Jud). Fish seems to have directed him to be a smiley dude used to getting whatever he wants and that works in spades at the end, but I couldn't get much of a read on his character. 

I found Mary Testa to be totally one-note, though some of her delivery was hilarious and she soudns great as always. Ali Stroker is indeed just as amazing as everyone says- and her out-of-context performances of Caint Say No on TV dont do her justice. I had read somewhere she rides her wheelchair like a bronco- she really controls the space, in a way that turns the notion of "disabled" right on its head. Perfect casting and perfect performance. And her total breakdown at the end (mirroring Laurey's) was a punch in the gut.

The two absolute standouts though were Patrick Vail's Jud and Rebecca Naomi Jones' Laurey. I dont quite understand how this show works without a Jud that is (i) sympathetic, (ii) somewhat alluring and (iii) creepy all at the same time. Vail just nailed all three- his confrontation with Curly in the dark/on camera was incredible and he carried himself in a way that breaks your heart even as you are terrified of him.

And who do we see about Rebecca Naomi Jones not getting a Tony nomination? I didnt see Cher Show or Kiss Me Kate, but the idea that Caitlin Kinnunen or Eva Noblezada are doing anything remotely close to Jones simply boggles my mind. Shes belting her face off as I expected (Many A New Day shook dem rafters!) but more: her Laurey is adorable when she needs to be but always guarded, always searching, always conflicted. Again, how does this play work if you don't have a Laurey whose face registers total fear/confusion/lust? I had heard "People Will Say We're In Love" before but she and Daunno turned it palpably sexual and intermittently hilarious. And her intensity at the show's close will stay with me for a long time. The entire last 10 minutes will. (I thought having the African American character speak up about applying the law fairly only to be railroaded by Aunt Eller, was going to be a bit on the nose, but they did it perfectly.) Can't remember the last time I felt 1000 people lose their breath all at the same time. 

I dont know if Rodgers and Hammerstein wanted me to think about the hubris of "we belong to the land..." or if they just wrote a catchy song. But this production sent me into the night rethinking the whole open frontier narrative, and humming along, too. No small feat. 

 

[IdinaBellFoster]

Posted: 6/13/19 at 12:21am

Glad you loved it! I’m in complete agreement about Rebecca Naomi Jones - she was robbed of a nomination. As was Patrick Vaill.

[Zion24]

Posted: 6/13/19 at 12:29am

IdinaBellFoster said: "Glad you loved it! I’m in complete agreement about Rebecca Naomi Jones - she was robbed of a nomination. As was Patrick Vaill."

I'm wincing as I write this because I really dont buy into the THIS PERSON DESERVES X AND THAT PERSON DESERVES Y- its all subjective. But both Jones and Vail were captivating start to finish. In a different league than anyone over at Tootsie and, from the looks of it, Aint Too Proud. And Jones sounds (and looks, hooboy) amazing! To each their own but I thought they both gave two of the best performances I had seen this season, and were both linchpins for the show making any sense. And while Jones has knocked me over before (Murder Ballad anyone?) Vail was a total revelation. Top notch stuff.

Updated On: 6/13/19 at 12:29 AM

[Melodicinflation0]

Posted: 6/13/19 at 2:15am

I was probably at the same show as you Zion24, and I feel the same way. The way the book was presented made me think in my head “Oklahoma is kinda ****ed up”. Listening to the movie version of “Poor Jud” now feels absolutely ridiculous in the movie context.

Updated On: 6/13/19 at 02:15 AM

[Zion24]

Posted: 6/13/19 at 10:07am

Melodicinflation0 said: "I was probably at the same show as you Zion24,and I feel the same way. The way the book was presented made me think in my head “Oklahoma is kinda ****ed up”. Listening to the movieversion of “Poor Jud” now feels absolutely ridiculous in the movie context."

Great example. Kudos to Fish for killing the lights, kudos to Vaill for in an instant showing Jud to be creepy but also desperate and scared. But how did this play otherwise? The leading man saunters over to a minor character's home, and suggests he kill himself and then sings about his funeral. HUH?

How is this handled in the hundreds of productions performed every year across the country? When Hugh Jackman performed this, people were like "got it. laurey should totally be w this dude." Not sure I understand those people who are griping that this production "kills the joy and optimism" out of the original. I am lost.

 

[Danielle49]

Posted: 6/13/19 at 2:14pm

Saw it again last night — loved it even more the second time around. What a fantastic production. The cast was ON FIRE, especially Ali Stroker. Every time she was onstage, one of the band members just looked around, nodding and grinning, as if to say “yep, she’s the real deal.”

[dramamama611]

Posted: 6/13/19 at 2:29pm

Perhaps a ridiculous question, is Ali Stroker's understudy also wheelchair bound? (IRL?)   Just curious.  We're seeing in a few weeks, and my luck will certainly get me an understudy (which is fine) so I was just thinking about it.