2 September 2023 I 19:30 I Wyndham's Theatre, London
⭐⭐⭐⭐⭐
I am extremely privileged to have attended the final performance of Oklahoma!'s 2023 West End season, and I cannot put into words how incredibly dynamic and electric this evening was! With songs including Oh, What A Beautiful Mornin' and Kansas City, Daniel Fish's reimagining of the 1943 classic entirely flips what is known about Oklahoma! on it's head, ramping up the sexiness and sizzling relationships between the characters. Whilst presenting a country, rock-n-roll concert like experience, it really hones in on a creepingly unsettled American landscape, cradling life with such fragility. A perfect balance between paradise and fear brews, Fish's adaptation takes some major risks, which pay off in this emotionally motivated piece.
It immediately amazed me as a thunder of applause welcomed the cast onstage. This is the first time I have ever seen this, but it is instantaneously clear how loved this production has become. Following the rivalries of local cowboys and farmers who compete over romance, the show's opening sees the whole cast seated around a large table, as a prominent and static show of community is displayed. Characters increasingly come to life, and relationships build at a steady pace. Generally, Lael Jellinek and Grace Laubacher's scenic design is very minimal, with a noticeable wooden pattern shared not only on the stage, but also seeping into the auditorium. This is a dream for audiences, as it feels incredibly inviting to be a part of this vision. To further enhance this, for a lot of the show, the house lights remain on. I was worried that this would be a distraction, however you are immersed into the same atmosphere as the actors. Scott Zielinski's lighting design has a secondary state, whereby the stage is framed in a softer wash, and house lights down, developing dreamy images as an emotional insight. And one of the most controversial elements to the design are the two moments of being plunged into full darkness, where not even your own hands are visible. I will admit, it makes my eyes strained, although as a creative choice, I find it entirely engrossing, one of my favourite things ever in theatre! It amplifies the intimacy of conversation, and allows Jud's quiet demeanour to be presented with threatening menace.
This cast is filled with outrageous talent, and truly everything is poured into these final performances. Patrick Vaill's interpretation of Jud is spine tingling, though mostly out of his quiet nature and unpredictability. Vaill doesn't follow the traditional conventions of a villain, and despite rowdy scenes, his stillness is nothing short of masterful. Contending against Jud is Curly, portrayed by Sam Palladio. Curly is an enjoyable role, with his cheekiness and confidence allowing Palladio to be solidly likeable. He is a natural to grace the stage, that we easily connect with due to his protective habits. And he certainly knows his way around a guitar, honestly remarkable in every way! Anoushka Lucas steals the show as a brash and independent Laurey. It took me a while to warm to Laurey, however as the musical develops, we see her vulnerability explored, holding the most delicate character arc. Her vocal beauty is really showcased during an acoustic / a capella Out Of My Dreams, whereby solely her voice captivates the audience with raw purity.
To mirror Laurey's emotional state, the Dream Ballet ensues, performed by Lead Dancer Anna-Maria De Freitas. Beginning the act without the exposed band, this number has been very open to criticism from other reviewers. It is a wave of abstraction, using dance as a method of storytelling separate the rest of the show's style. To some extent, I can understand why it may be challenging to comprehend. However, through Heginbotham's trance-like movement work, I can sense frustration, grief and freedom. It is altogether evocative, a beautiful moment of the musical, translating emotive states that language cannot.
The happy-go-lucky trio made up of Paige Peddie, James Patrick Davis and Stavros Demetraki (portraying the roles of Ado Annie, Will and Ali respectively) are wonderfully hilarious, and a marvel with audience interaction. If I had to pick a favourite moment from the whole show, it would have to be Peddie's I Can't Say No, filled to the brim with laugh out loud lines. And additionally performing an encore, which the audience goes WILD for! I feel so lucky to have been in the audience to witness such phenomenal talent and presence. Davis and Demetraki's quips at marriage, floundering around the stage in frenzies of love and terror makes the pair utterly loveable. Sally Ann Triplett's Aunt Eller is a woman you would not want to mess with, though I adore how characterisation in a motherly, endearing heartiness. She oversees a lot of the action, and her soft, nurturing side is warming to see develop. These performers lead an unbelievable line-up to celebrate Rodgers & Hammerstein's legendary musical. To see such an astonishingly strong cast, where whole-cast numbers can make the earth shudder with such force, so lucky!
It is very rare to see the actors interacting with the band, and Oklahoma! perfects this form, utilising various musicians to play small parts in the action. It gives another dimension to the plot and widens the concept of community in a simple yet effective way. Huw Edwards' musical direction conducts the orchestrations to perfect avail, bringing the American landscape to life. Joshua Thorson's live projection design is entirely unique, and heightens the thematic of accountability, confronting and challenging the characters beyond the text. Act 2 really shifts the style of the musical, taking on serious tones. It becomes almost trial-like as we reach the highly anticipated box social, and a haunting reprise of Oklahoma to round of the show leaves you feeling every emotion under the sun, I can promise that! I wanted to get up and dance, but also shrink into my seat at the same time!
I could honestly write paragraphs more about this performance of Oklahoma!, and my only complaint is... why didn't I see this show sooner?! It exceeds my expectations past what I ever could have hoped, raring with comedy, chills and a storyline which really makes you think once you leave the theatre. Catching up with this review almost a week on from the show, I cannot stop thinking about how revolutionary this adaptation is. There isn't a shadow of doubt as to why it won Best Musical Revival at the '23 Olivier Awards. It completely transforms the soundtrack I know and love in a new form, and I will dream of one day returning to the box social!!
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