High-kicking, energetic ‘Oklahoma’ at the center

Tom Titus

Some six decades ago, Richard Rodgers and Oscar Hammerstein II broke

all sorts of musical theater ground when they took a rather dreadful,

straight play called “Green Grow the Lilacs” and turned it into

“Oklahoma.”

Now, in a newly minted national tour, with its latest stop the

Orange County Performing Arts Center, “Oklahoma” demonstrates to a

new generation of theatergoers just what all the fuss was about back

in the 1940s. The corn still is as high as an elephant’s eye, but the

choreography -- originated by Agnes de Mille and refined superbly by

Susan Stroman -- is higher than that; it’s out of this world.

Stroman’s inventive dance numbers, recreated by Ginger Thatcher,

along with some splendid singing voices and a few character actors

who steal more than their share of scenes, render this “Oklahoma” a

richly enjoyable experience. Not to mention a valuable history lesson

in Musical Theater 101.

The leading character of Curly, the brash and breezy cowboy, must

be immediately likable. And Brandon Andrus fills the bill splendidly

from the first bars of “Oh, What a Beautiful Morning.” Andrus blends

a strong vocal style with a playful attitude -- the depth of his

character is filled in later -- to give the role both the heart and

guts it requires.

Amanda Rose’s Laurey is a strong-willed prairie lass, Curly’s

equal in romantic game-playing, with a sweet, cultured voice that

enhances her solo “Many a New Day” and marks her one-upmanship duet

with Curly, “People Will Say We’re in Love,” as a joyful rite of

courtship.

The high-stepping comedy of Daniel Robinson’s Will Parker gives

his “Kansas City” number an electric bounce, and Sarah Shahinian’s

coquettish Ado Annie plays off his macho character beautifully as the

gal who “Cain’t Say No” either to Will or to the polished Persian

peddler, nicely rendered by Colin Trahan.

One particularly effective characterization of this “Oklahoma” is

Tom Lucca’s brooding farmhand, Jud Fry. Rather than offer merely the

surface menace, Lucca delves deeply into his character’s psyche to

unearth an introverted, conflicted loner driven to violence when

romance eludes him.

Few interpreters of Laurey’s Aunt Eller have developed as rich and

robust a rendition as Pat Sibley offers in this show. Sibley shines

as a no-nonsense farm matron out to bring the “Farmer and the Cowman”

together if she has to shoot members of both sides to achieve

detente.

Gordon Gray’s gruff, old shotgun-toting father of Ado Annie and

Jessica Greeley’s captivating young lady with a hyena-like giggle are

two characters who swipe any scenery not nailed down.

The Stroman-Thatcher choreography is, undoubtedly, the highlight

of the show. Ensemble numbers blossom with intricate stepping and

stage gymnastics, and the dream ballet which closes the first act is

beautifully accomplished.

Director Fred Hanson has mounted a big, bountiful valentine to the

Rodgers and Hammerstein legend with this glowing re-enactment of the

show that gave them their start. Anthony Ward’s spacious setting and

eye-catching costumes also illuminate the production.

There are, undoubtedly, few adult theatergoers who haven’t seen at

least one production of “Oklahoma,” but this one is well worth a

second, third or even 10th look.

* TOM TITUS reviews local theater for the Daily Pilot. His reviews

appear Fridays.