Review: Orchestra of St. Luke’s Exuberant OKLAHOMA! in Concert at Carnegie Hall

On Monday January 12, 2026, the Orchestra of St. Luke’s (OSL) put on a resplendent concert performance of Rodgers and Hammerstein’s Oklahoma. The show was part of Carnegie Hall’s United in Sound: America at 250 Festival. Through outstanding casting, lush arrangements of the original score, and talented playing of the music, the OSL showcased the gloriously weird, uniquely American masterpiece.

Making excellent use of Carnegie Hall’s acoustics, the focus was primarily on Oklahoma’s wonderful score and playing the music as it was originally intended to be heard, but the production went far above and beyond simply showcasing the score. It featured a knockout cast reading through the script with minimal but clever staging (and some pared-down dancing). Most of the stage was taken up by the grand Orchestra of St. Luke’s, so the ensemble wasn’t quite as large as a full Broadway production would have been, but they used the entire room cleverly. Characters entered and exited from the aisles, and orchestra members and the conductor (Emmy- and Grammy-winning music director Rob Berman) were tapped to play ensemble parts as needed.

During the final reprise of “Oklahoma”, chorus singers marched down the aisles in the parquet, planting themselves and joining the principle cast members in the song, quite literally surrounding us with their vocals so that the Stern Auditorium / Perelman Stage resounded with joyous melody and lyrics.

The show started with the fully orchestrated overture, giving the audience a taste of what was to come. Then, we saw Aunt Eller (Ana Gasteyer) seated alone on the stage, until Emmett O’Hanlon walked down the aisle singing the first verses of “Oh What a Beautiful Morning” a cappella. His rich baritone and Micaela Diamond’s crystal-clear soprano make the already grand melodies soar.

Jasmine Amy Rogers (Boop) was another standout as Ado Annie, giving a spirited performance with the perfect amount of innocence and insouciance. Her comedic timing is impeccable. She and Andrew Durand as Will Parker made a great pair as comedic relief. Parvesh Cheena is hilarious as the Persian, Ali Hakim, as well as Katy Geraghty as his eventual bride-to-be with the annoying laugh. David Hyde Pierce is wonderful as Andrew Carnes, Ado Annie’s father. Jonathan Christopher manages to humanize Jud with his sensitive portrayal of the character. Ana Gasteyer is a perfect fit for the hardy, no-nonsense Aunt Eller.

The dances that were included were executed well, choreographed by Chase Brock. Even the choice to omit Laurie’s dream ballet added another layer to the show, forcing the audience to focus on the melody of the number and what Rodgers and Hammerstein were trying to convey through the music. Even the costuming choices subtly added to the show, down to the entire orchestra being clad in clothing that evoked the look and feel of the time period, something I didn’t consciously notice until they took their bows at the end. The sold-out crowd hung raptly on the production from start to finish. Not everyone likes Oklahoma – the book is weird, a little long, and perhaps a touch sexist by today’s standards (I don’t really buy that Laurie “can’t make up her mind” between Curly and Jud – it seems the entire time more like she’s afraid of Jud and that the book writers didn't bother to try to get inside her head) – but this was a remarkable production of it, with gorgeous attention to detail on the core that makes Oklahoma a true American classic: Rodgers and Hammerstein’s music.

(Read a conversation with director Shuler Hensley for more on the behind-the-scenes decisions behind the show.)

Learn more about the OSL on their website at oslmusic.org

The Orchestra of St. Luke’s returns to Carnegie Hall on February 12, March 26 and April 30. Get tickets and learn more about those performances here.