By Lindsey Kelstrom
I took my daughter to one of her favorite musicals, Oklahoma, at the beautiful historic Ellen Eccles Theatre Friday night to revisit her favorite songs and characters. Music Theatre West brings these elements together for an enjoyable night in full Rodgers and Hammerstein fashion.
Oklahoma sets the scene for Oklahoma while it was still a western expansion territory at the peak of its settlement before joining the Union. The story follows Laurie (Siera Peery), who lives with her Aunt Eller on a farm, and is playing hard-to-get love games with local cowboy favorite, Curly (Trenton Bateman). Curly wants to take Laurie to the box social as Act I opens, but in true coquettish fashion, Laurie accepts an invitation to go with the hired hand Jud Fry (Josh Hopkins) to foster Curly’s jealousy. Meanwhile Laurie’s friend Ado Annie has troubles of her own deciding between two men who both want to marry her, or do they? At the box social, Curly and Jud get into a bidding war for Laurie’s boxed luncheon, and Jud, being a sore loser, threatens the love birds, then disappears. Curly and Laurie wed, but Jud comes back to stir up trouble. To avoid further spoilers, you’ll have to go to the show to learn how things end.
Music Theatre West’s production opens the first scene with Aunt Eller (Leah Checketts) churning butter in front of a beautifully crafted yellow house with a white picket fence and a wind silo in the backdrop that truly takes audience back to another time and place. The attention to these set details and execution can be attributed to Jay Richards as Scenic Designer and Carpenter, with help from Kevin Hicken as carpenter. However, what really begins this production is the first ever official overture written for a musical, which is played beautifully in this production by a live orchestra, under the direction of Jay Richards as conductor. The music of this show is so iconic and full of life, and this particular orchestra delivers a performance better than any live orchestra I’ve heard in quite some time.
Bateman as Curly begins the story singing “Oh What a Beautiful Mornin’” from off-stage, and all I could think the whole time was, “Oh what a beautiful voice!” I know I was not singular in this impression as I observed many other audience members turning to one another nodding, with pleased expressions. The richness and deep-toned qualities of his voice are inviting and calming. His characterization of Curly are equally as natural and inviting, and he quickly becomes a show favorite.
Peery’s Laurie comes out in full spunky-mode ready to goad Curly on, and this fine actress does it convincingly and with energy. The pair are well suited and it’s enjoyable and easy to watch them interact as they eventually let their guards down and fall in love. Their comedic, romantic counterparts, Ado Annie and Will Parker, played by real-life couple Melinda Richards and Clifton Richards, also have a natural ease with one another, and hit the comedic timing of lines with an often dead-panned hilarity that has audiences continually laughing. Ali Hackam (Kyle Cottam) delivers on the biggest laughs of the show as Ado Annie’s not-so-willing suitor with excellent delivery of lines and facial expressions. Also, Checketts delivers a stern but life-loving caretaker as Aunt Eller, and isn’t short on the number of laughs she receives either. Hopkins plays the villain of the musical as Jud Fry, and I think the best way to explain how well he delivers his performance is when my daughter leaned over to me and said, “Mom, he’s kind of creeping me out!” Well, he’s supposed to, so job well done. But the song “Poor Jud Is Dead” was also our favorite, and one of the funniest musical numbers of the entire show, so great range in his ability.
The ensemble delivers beautiful vocals and harmonies through work with Debbie Ditton as both Vocal Director and Director, and a gorgeous dance sequence is breathtakingly choreographed by Stephanie White, which gives Laurie’s dream sequence a truly dream-like effect. Maren Lyman pulls together costumes that are true to the prairie theme, and personally created a fun opportunity for my daughter and I to decide which, of all the variety of colorful dresses is our favorite. The purple one, by the way, is what we decided.The only thing that doesn’t quite flow at times are some of the ensemble entrances that are preceded by pregnant pauses while waiting for all to get onstage before delivery of the next line. However, I went on opening night, and those kind of entrances usually improve with each performance.There is still so much to be said about the successful execution of this production.
Sound Technician Justin Wellington and Light Designer Bruce Duerden work successfully to ensure audiences hear and see and feel all that is happening onstage. It was so well executed for opening night, it should definitely be commended. Describing the production of this show would be remiss without mentioning more of Ditton’s work as director. It is obvious, and frankly wonderful how Ditton works to give each performer special moments onstage to make it a show for each performer to take personal pride. She also creates a cohesive and nostalgic experience for newcomers to this classic, as well as for die-hard Oklahoma fans.
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I agree with the director’s note that Oklahoma! exposes the theme still relevant today, the basic human need for love and belonging- the validity of that theme is most definitely accomplished in this production of Music Theatre West’s Oklahoma!. Grab your gal or your feller or your young’uns and come to Oklahoma! in Logan.
Music Theatre West presents Oklahoma by Rodgers and Hammerstein
Ellen Eccles Theatre, 43 South Main Street Logan, Ut 84321
September 21-29 7:30 PM, September 29 1:30 PM
Tickets: $17-$25
Contact: 443-536-8670
Music Theatre West Facebook Page
Oklahoma! Facebook Event
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