REVIEW | Oklahoma, Wyndham's Theatre

★★★★★

Reviewer - Roni

*Disclaimer: Gifted tickets in return for an honest review.

For some, Rodgers and Hammerstein’s Oklahoma! may simply be the film that your family insisted on putting on over Christmas, with a rousing chorus of ‘oh it’s a classic!’ However, as far as Broadway and the West End are concerned, this is one classic that they cannot seem to shake their love affair with. Initially opening in 1943 and 1947 respectively, Oklahoma! has seen multiple runs and revivals in New York and London across almost 80 years, also enjoying two tours across the UK, the most recent being in 2015. This particular revival is Daniel Fish’s masterpiece that hit Broadway in 2019 and swiftly earned itself the Tony for Best Revival of a Musical. It played a limited seven-week run at the Young Vic last year to much critical acclaim, and is now back for a much longer stint at Wyndham’s Theatre, to the delight of critics and audiences alike. The musical already has seven nominations for this year's Olivier Awards, so what is it about this musical that's got everyone talking?

Staying true to the original Rodgers and Hammerstein script and lyrics, Oklahoma! tells of the folk living in Oklahoma Territory in the early 1900’s, including Laurey Williams, her Aunt Eller, and local cowboy Curly McLain who visits often to talk to Laurey. Despite the whispers and rumours of the townsfolk, Laurey and Curly insist they are not fond of each other, and Laurey refuses to go to the upcoming box social with Curley, opting instead to go with her infatuated and unsettling farm hand Jud Fry. Meanwhile, Laurey’s friend Ado Annie is having trouble with men of her own, in that she’s lapping up attention wherever she can get it, and as a result is now betrothed to peddler Ali Hakim (who only agreed under duress from Annie’s father’s shotgun), instead of genuine love  Will Parker, who finally has enough money to give in exchange for her hand. Things come to a head at the box social, as the men try to outbid each other for their respective women no matter what the cost. Curley wins a lunch with Laurey, which leads her to spurn Jud’s advances and agree to marry Curly. An outraged Jud threatens Laurey before she sacks him and sends him packing, but will she and Curly have their happy ever after?

The audience is stepping into Wyndham’s expecting the unexpected here, with the production billed as a ‘contemporary reimagining’ of the classic show. It’s safe to say they have delivered that. Keeping the same songs and script, albeit with a new orchestration (which sounds exquisite), maintains a beautiful piece of tradition amongst a modern backdrop which should thrill audiences young and old. The staging here is inspired, with the entire stage and surrounds decked out in wooden boards that wouldn’t look out of place and an IKEA-style coffee table, adorned with groups of shotguns. As co-scenic designers, Lael Jellinek and Grace Laubacher have created a space that strips away any ounce of a gimmick and turns the audience’s gaze inwards, literally and metaphorically. Lighting and sound also play a significant and surprising role in this production. The entire house is plunged into complete darkness multiple times during dialogue and song, with handheld cameras and microphones amplifying the drama to create a sensory experience you’ve never before experienced. Other scenes are lit in a manner reminiscent of a strip club, others obscured by plumes of smoke, so this may be something to note for those sensitive to such experiences. Daniel Fish and Daniel Kluger as director and orchestrations/arrangements master have come together perfectly to breathe new life into well-loved songs, delivered wonderfully by the cast and band. 

It goes without saying that this cast is striking, as they are laid about as bare as it gets. A majority of the show sees them all onstage at any given time, giving them the chance to flex their acting chops in an unusual way. Arthur Darvill gives a stellar performance both physically and vocally as cheeky cowboy Curly, strutting around with an acoustic guitar as though it’s the only thing he’s ever known. He plays both sarcastic and emotional with ease and shines most when sharing a stage with Anoushka Lucas’s Laurey. Lucas gives us ‘stand-off ish’ in spades, bringing a modern feminist edge to Laurey that deserves to be celebrated. Patrick Vaill brings an unseen, vulnerable feel to Jud while still managing to unsettle and unnerve the audience. His and Darvill’s ‘Pore Jud is Deid’ is arguably the most harrowing moment in the show, making our skin crawl in new and uncomfortable ways, which is no mean feat in today’s overexposed society. James Patrick Davis and Stavros Demetraki delight as the hapless Will Parker and Ali Hakim, providing much-needed comedic relief. Georgina Onuorah is also a scene stealer as Ado Annie, with sultry energy that radiates through a production that is undeniably slick and sexy.

In short, if you love the classic Oklahoma!, you definitely can’t say no to this one. If you aren’t the biggest fan of the original, you should definitely bag a ticket for this one. Managing to be full of twists, turns and shocks while keeping to the script we know, this a refreshing reimagining that should be lauded. Do not miss it!

Oklahoma! is currently booking until September 2023. All ticket information is available here.

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