{"id":11293,"date":"2020-01-16T17:21:42","date_gmt":"2020-01-16T17:21:42","guid":{"rendered":"https:\/\/laughfrodisiac.com\/?p=11293"},"modified":"2022-05-15T21:03:15","modified_gmt":"2022-05-15T21:03:15","slug":"an-incredible-oooooklahoma-like-youve-never-seen-before","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2020\/01\/16\/an-incredible-oooooklahoma-like-youve-never-seen-before\/","title":{"rendered":"An Incredible Oooooklahoma! Like You\u2019ve Never Seen Before"},"content":{"rendered":"\n

It\u2019s Theatre Thursday! Today\u2019s show is the 2019 Broadway revival of Oklahoma!, which saddest of the sads will close this Sunday, January 19, because of injustice\/small theatres\/probably Scott Rudin<\/em>.<\/p>\n\n\n\n

You don\u2019t really get many musical theatre fans putting Oklahoma!<\/em> in their lists of all-time favorite shows. Sure it\u2019s Rodgers & Hammerstein and it\u2019s a classic, but it\u2019s also old-fashioned and kind of meh, a story about farmers loving their corn and their hoedowns and going a-flirtin\u2019 and a-courtin\u2019 and a-bakin\u2019 and all. Or is it? People tend to forget that Oklahoma<\/em> features legitimate darkness, maybe because it\u2019s usually still treated with a shiny happy gloss while you sing about the surrey with the fringe on top and the good ol\u2019 boys of America. But the current Broadway revival of Oklahoma<\/em> from director Daniel Fish breaks down the show to its dark, disturbing core, in a truly soul-rattling production that feels more poignant and relevant to modern America than anything written this year.<\/p>\n\n\n\n

With the minimalist set design and style (and a lot of guns)\nand nothing to distract you, this revival of Oklahoma<\/em> lets\neverything hang out for you to see in its starkest, realest form. The lines and\nthe lyrics are the same, but how Fish presents it and how the perfect cast\nperforms it manages to turn the show from something cheery and cheesy into\nsomething incredibly complex and dark, and even knowing the story and the\nlyrics, I was concentrating too hard to remember to breathe at times. <\/p>\n\n\n\n

The love story at the center is more complicated than ever. The cheerful and fun-loving Curly, as played by the superb Damon Daunno, has an air of unpredictability hidden in his good-natured cheeriness, reflected also in his wandering voice, which can easily go from folksy and relaxed to as strong and moving as anything you hear on Broadway. When he opens the show with \u201cOh What a Beautiful Morning\u201d, my first thought was that I wanted to wake up every day to this rendition, of a song I usually skip! His Curly is still playful, but he\u2019s so clearly the popular kid, a lad in every sense, fun-loving and \u2018nice\u2019 but hiding an edge, untrustworthy at a party. The object of his affection, Laurey, is the great Rebecca Naomi Jones, whose flirting and joking around with Curly seems to be based in legitimate confusion about what she actually wants. Her relationship with Jud, the villain who is obsessed with her, is also much more complicated: it doesn\u2019t seem as fully unrequited as it usually is said to be. It\u2019s unclear whether she\u2019s actually attracted to Jud too or whether she\u2019s just terrified into being nice to him, or both, but either way it\u2019s now fascinating instead of casually explained by his wickedness.<\/p>\n\n\n\n

Jud, played by Patrick Vaill, is the part of this revival that haunts me. His performance is the toned down yet even more convincing version of Joaquin\u2019s Joker origin story. Everything that makes Jud Fry the villain is done in a way that makes you simultaneously pity him, understand him, and fear him, and he could easily be any mediocre white guy yelling at the internet from his basement while living smaller than he wants to. The part of the show that I usually hate, \u201cPoor Jud is Dead\u201d, was made riveting and tense, as a live video camera projects just Jud\u2019s face in night-vision as he listens to Curly pleasantly torment him. This scene was the most incredible Ivo Van Hove directing I\u2019ve ever seen, much better than when Ivo tries it. Vaill\u2019s subtle emotional reactions – all in his eyes – during this scene were stunning, and made everything about his story so upsetting and so relevant. The original ending, with Jud threatening the lives of Curly and Laurie and ending up, um, \u201cfalling on his knife\u201d, now leaves nothing to the imagination about the chain of events but everything up for discussion regarding what\u2019s right and wrong about it. <\/p>\n\n\n\n

Laurey\u2019s Aunt Eller, usually somewhat comic, is in Mary Testa\u2019s hands funny but formidable, and her performance after the much-changed climax was as menacing as anything. The real comic relief comes from Ali Stroker\u2019s Ado Annie, James Davis\u2019s Will Parker, and Will Brill\u2019s Ali Hakim, all wonderful, but it\u2019s Ali Stroker who steals the show every time she\u2019s onstage and more than earns last year\u2019s Tony Award. Comparing her version of \u201cI Cain\u2019t Say No\u201d to the movie version, it\u2019s like two completely different songs. She\u2019s worth the Broadway prices alone to see her own that stage.<\/p>\n\n\n\n

Every second of this production is exquisite, every beat, every choice felt essential \u2013 except the Dream Ballet. I really wanted to like it since I\u2019ve heard so many people have the same review, but I didn\u2019t think it worked at all. It\u2019s a good idea to modernize it as a classic ballet would have felt out of place in this raw production, but I didn\u2019t feel it accomplished anything. The original Dream Ballet is famous for showing that dance can actually further the plot in musical theatre and help tell the story rather than simply be accompaniment, but I didn\u2019t find that to be the case here. Maybe because it didn’t seem like it was actually ‘dancing’, it was like ‘purposeful walking around’.<\/p>\n\n\n\n

But aside from that, this revival is perfection. They\u2019ve\nmanaged to make something so familiar into something so new, significant, and\nso chilling. Oklahoma<\/em>!\nmight not be on my list of favorite shows, but this particular production is\none of the most genius things I\u2019ve ever seen.<\/p>\n\n\n\n

INFORMATION<\/strong><\/p>\n\n\n\n

Oklahoma<\/em>!<\/em> ends its run at the Circle in the\nSquare in NYC on Sunday, January 19. <\/p>\n\n\n\n

There\u2019s not a bad seat in the house (it\u2019s in the round, with\nthe back wall closed off). The CITS toilet situation is annoying \u2013 downstairs\nfor everyone. They need a new water filling system; the elementary school style\nwater fountain would require you to Andy Dwyer it to actually get anything out\nof it. <\/p>\n\n\n\n

VEGAN ALERT: they serve vegan chili at intermission!!! I do\nnot think the cornbread is vegan but CHILI, MY LITTLE CHILI BABIES! YOU PUT THE\nPEEPS IN THE CHILI POT AND EAT THEM BOTH UP YOU PUT THE PEEPS IN THE CHILI POT\nAND ADD THE M&MS! COME ON! DIP YOU PAWS IN MY CHILI! SCOOP YOUR LITTLE\nMITTENS RIGHT IN THE STEW! <\/p>\n","protected":false},"excerpt":{"rendered":"

It\u2019s Theatre Thursday! Today\u2019s show is the 2019 Broadway revival of Oklahoma!, which saddest of the sads will close this Sunday, January 19, because of injustice\/small […]<\/p>\n","protected":false},"author":2,"featured_media":11294,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[147],"tags":[],"class_list":["post-11293","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment"],"yoast_head":"\nAn Incredible Oooooklahoma! 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