Review: OKLAHOMA at Dingbat Theatre Project

The Dingbat Theatre Project’s production of Oklahoma! is not your grandmother’s Oklahoma. While the Rodgers and Hammerstein classic is often presented with sweeping nostalgia, bright cornfields, and wholesome Americana, Dingbat boldly twists the familiar into something more unpredictable. Their interpretation introduces unexpected staging choices and tonal shifts that remind audiences this beloved musical can still surprise us more than eighty years after its debut. Yet even with these creative departures, the heart of the story remains intact—thanks largely to a cast deeply committed to the characters and the narrative they are telling.

Originally premiering on Broadway in 1943 at the St. James Theatre, Oklahoma! marked the first collaboration between composer Richard Rodgers and lyricist/librettist Oscar Hammerstein II. At the time, the musical revolutionized Broadway by integrating song, dance, and story more seamlessly than most productions before it. The show went on to run for an extraordinary 2,212 performances, an unprecedented achievement in its day. Set in the Oklahoma Territory in the early 1900s, the musical explores community life on the frontier just before statehood, blending romance, comedy, and darker themes about jealousy and belonging.

At its core, Oklahoma! tells the story of Laurey Williams, a spirited farm girl caught between two very different men. Curly McClain, the confident and good-hearted cowboy, clearly loves her, though their flirtatious back-and-forth makes it difficult for either of them to admit it outright. On the other hand is Jud Fry, the brooding and socially isolated farmhand whose interest in Laurey carries a far more unsettling edge. Around them swirl the lighter comedic threads of the story, particularly the romantic misadventures of Ado Annie Carnes, who cheerfully admits she “can’t say no” to attention from men. Her relationship with the earnest but naïve cowboy Will Parker—and the scheming traveling peddler Ali Hakim—adds humor and contrast to the central romance.

The show’s famous dream ballet traditionally provides insight into Laurey’s fears about choosing between Curly and Jud, and it culminates in a dramatic confrontation that ultimately resolves the love triangle. All of this unfolds against a backdrop of community gatherings, lively dances, and songs that have become Broadway standards, including “Oh, What a Beautiful Mornin’,” “People Will Say We’re in Love,” and the title anthem, “Oklahoma.”

While Dingbat’s production may reshape the tone and staging of these moments, the cast approaches the material with impressive sincerity. Their commitment grounds the production and allows the emotional core of the musical to resonate, even when the surrounding presentation veers away from tradition.

Leading the company is Sarah Conte as Laurey Williams, delivering a performance that anchors the show with remarkable precision. Conte’s acting demonstrates a keen understanding of Laurey’s internal conflict, and she navigates the character’s shifting emotions with impressive nuance. Vocally, she proves equally strong; her singing is clear, controlled, and expressive. Conte’s range and emotional depth make Laurey feel fully realized, capturing both the character’s vulnerability and her determination. It is a performance of notable maturity and skill.

Opposite her, Zach Tudor’s Curly McClain brings an appealing balance of charm and wit. Tudor understands Curly’s natural charisma, presenting him as both playful and sincere. Particularly impressive is his ability to move between warmth and flashes of indignation without pushing either extreme too far. The result is a Curly who feels grounded and believable rather than overly heroic.

Caitlyn Mercede Turner further adds to the show as Ado Annie. From the moment she appears, Turner commands the stage with infectious energy and irresistible charm. Her comedic instincts are sharp, and she captivates the audience during her musical numbers with confident vocals and vibrant personality. Ado Annie can easily become a caricature, but Turner keeps her lively and endearing throughout.

Ultimately, Dingbat Theatre Project’s Oklahoma! is a production that challenges expectations while still honoring the dedication of its performers. The dream sequence and the show’s final moments are not quite what audiences might anticipate—unless, of course, they are familiar with Dingbat’s adventurous theatrical style. For some, the changes may feel surprising; for others, they will feel invigorating. Either way, the company proves that even one of Broadway’s most classic musicals can still find new ways to spark conversation.