Oklahoma!

Respected, award-winning director, Richard Trevaskis is known for his flair and innovation in musical theatre. For this Gilbert and Sullivan (G&S) production of Oklahoma!, Trevaskis has unashamedly embraced the pared back 2015 Daniel Fish production style whilst making few changes to the 1943 script. What impact does this have? It casts Oklahoma! into a very different light from the feel-good euphoric musical that usually characterises this piece. Gone is the joyous, ebullient feeling, replaced by a darker dramatic look and feel; even the set and lighting reflects this. This is a long show. The Hugh Jackman 2023 version got ‘the corn as high as an elephant’s eye’ in 3 hr 12 min. With one interval, running longer than advertised, this one runs at three hours and twenty minutes.

The orchestra has also been reduced to two keyboard players; Daniel Brunner who is also the Musical Director, and Martin Cheney. Both spend the entire show on stage. For me, somewhat of a honkey tonk version of the Overtures, lacked the lush swell and romantic feel of a full orchestra, and a different placement on the stage may have made them seem less intrusive.

Penned, in part as a political piece set in 1906, Oklahoma! is set in the rugged Oklahoma Territory, when the region was on the precipice of becoming a state in the Union. A boastful cowboy named Curly and a surly ranch hand named Jud are both in love with Laurey. Though she really loves Curly, stubborn Laurey spites him by going to a dance with Jud. There, all of the young womenfolk donate a lunch basket to raise money for the school and Curly proves his love by bidding all he owns for Laurey's lunch basket. They marry, and after the ceremony, Jud picks a fight with Curly and Jud is killed by his own knife (a gun is used in this production). The locals who conveniently have a marshal and judge on hand, hold court, acquit him and the newlyweds leave to celebrate their honeymoon.

Somehow, for 80 years, this has been the plot for this much-loved musical. It has, however, always addressed male dominance and violence, domestic violence and to some degree, gender stereotypes. For this reason, there are ample warnings in the programme, and foyer about the themes. For this reason, I was puzzled by the sexual stereotyping of costumes, particularly for Ado Annie, played confidently by Cassidy Gaiter, and three chorus girls straddling chairs Cabaret nightclub style, clad in very short shorts.

G&S famously attracts excellent singers, and it is very much the case with Oklahoma! Particularly impressive is Fahad Farooque whose voice is powerful and true. Whilst he seems somewhat gentle for the role of sinister, evil Jud, it will be interesting to see him in leading romantic roles. Very much looking the part, Daniel Hamilton, as Curly, gives a gentler, less robust vocal performance than is customary for Curly. Carolyn Ferrie as Aunt Eller, Cassidy Gaiter and Bethany Eloise all shine in their singing roles both individually and as part of the very competent ensemble. Sophie Stokes is clearly a talented vocalist, though at times, on opening night was for me, shrill. Popular theatre all-rounder, Robin Schmelzkopf is mysteriously cast as Ali Hakim, a peddler of middle eastern origin. Suspending belief, he is a seasoned performer who milks every second on stage and could almost pull off being a mystery man from romantic climes.

Trevaskis and G&S are proudly forging change with this version of Oklahoma!. It is not the traditional, nor is it light-hearted, but it is full or relevant messages and possibly shines a light on how theatre revivals will be shaped in the future.

Jude Hines