Interludes

THE HANGOVER REPORT – Daniel Fish’s brilliant, radically re-envisioned OKLAHOMA! remains a stunner on Broadway

• By drediman
• April 11, 2019
• No Comments

Rebecca Naomi Jones and Damon Daunno in Daniel Fish’s revival of “Oklahoma!” at Circle in the Square. Photo by Little Fang.

Earlier this week, only the second and final musical revival of the 2018-2019 Broadway season (after a very fine revival of Cole Porter’s Kiss Me, Kate! at Studio 54) opened when Daniel Fish’s radically re-envisioned production of Rodgers and Hammerstein’s seminal 1943 musical re-emerged on the Great White Way at Circle in the Square. Indeed, this ain’t your grandparents’ Oklahoma! – or even your parents’. I adored the brilliant revival when it played across the East River at St. Ann’s Warehouse in Brooklyn (the production was first seen at Bard SummerScape). I’m happy to report that Mr. Fish’s production remains a game-changing stunner.

Mr. Fish’s 75th anniversary production is more than just a stripped-down version of the Rodgers and Hammerstein classic, which interestingly plays more intimately on Broadway than it did Off-Broadway at St. Ann’s. And to say that the musical has simply received the “shock-and-awe” Ivo van Hove treatment would be to downplay its accomplishments. In essence, Mr. Fish’s production reclaims Oklahoma! – which has been unfairly bogged down by decades of hokey, artificially wholesome stagings – for contemporary audiences. This Oklahoma! takes a long, hard look at the material (note that nary a word has been altered) and uncovers an unsettling view of violent, morally questionable, and deeply prejudiced early America. Sound familiar? Mr. Fish’s pacing is disorienting and intoxicating; he takes his time excavating subtext and speeds through decidedly less interesting segments of Hammerstein’s surprisingly ambivalent book (and lyrics). Also, Daniel Kluger’s caressing but arresting bluegrass-y orchestrations and the stylish, soulful vocal stylings of the cast had me listening to the indestructible score with fresh ears.

Speaking of the cast, they’re stronger than ever. Since moving to Broadway, their performances have grown brighter and surer, which may very well end up pleasing both musical theater purists, as well as more adventurous fans of the St. Ann’s run. The handsome Damon Daunno continues to play Curly as a churlish, befuddled pretty boy with a soaring Thom York yelp, and not the dashing hero (complete with a Broadway legit voice) who invariably saves the day. As Laurie, musical theater favorite Rebecca Naomi Jones is simply mesmerizing, imbuing the character with a defeated quality – and yearning, achingly raw vocals to match. Her Laurie seems to walk shell-shocked through much of the musical. And why shouldn’t she? Consider her situation – she’s a smart, strong-willed girl at the whim of two men who probably aren’t worthy of her. Other portrayals, particularly the steel-voiced Mary Testa’s bullying Aunt Eller and the undaunted, sexually-charged Ali Stroker’s Ado Annie, disarm with their frank intensity. Oh, and choreographer John Heginbotham’s mistifying equine dream ballet, as danced by Gabrielle Hamilton, is even more fabulous and trippy than I remember it.

HIGHLY RECOMMENDED

OKLAHOMA!
Broadway, Musical
Circle in the Square
2 hours, 50 minutes (with one intermission, at which vegan chili and cornbread is served onstage)
Through September 1