Oklahoma! (Wyndham's Theatre, London, Personal)
🌟 Oklahoma! 🌟
02 September 2023 at 7:30pm at the Wyndham's Theatre, London
★★★★★
I was extremely privileged to be able to attend 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, that cradles 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 investing 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 very 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 feel a part of the same community, 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 image to gain 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 feel unusual, although as a creative choice, I find it entirely engrossing, as it amplifies the intimacy of conversation, and allows Jud's demeanour to be presented as quietly threatening.
This cast is filled with outrageous talent, and truly everything was poured into these final performances. Following from the previous paragraph, 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 menacing stillness is nothing short of masterful. Contending against Jud is Curly, portrayed by Sam Palladio. Curly is a really 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 nature. And he 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, as she holds 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 such raw vulnerability.
To mirror Laurey's emotional state, the Dream Ballet ensues, performed by Lead Dancer Anna-Maria De Freitas. Beginning the act without the onstage 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 unlike the rest of the show's style. To some extent, I can understand why it may be challenging to understand, and I can hold my hands up and say I didn't necessarily know what the whole sequence represented. However, through Heginbotham's trance-like movement work, I can immediately sense frustration, grief and freedom. It is altogether evocative, and a beautiful moment of the musical.
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 number 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 and witness such phenomenal talent. Davis and Demetraki's quips at marriage, and floundering around the stage in frenzies of love and terror makes the pair utterly loveable from their wacky ventures. Sally Ann Triplett's Aunt Eller is a woman you really would not want to mess with, though I really adore how she gives the role a motherly, endearing heartiness. She oversees a lot of the action, and her softer, more nurturing side is warming to see develop. It is a pleasure to see such an astonishingly strong cast, where whole-cast numbers can make the earth shudder with such force!
It is very rare to see the actors interacting with the band, and Oklahoma! really perfects this form, utilising various musicians to play small acted parts across the show. It gives another dimension to the plot and widens the idea of community in a simple yet effective way. Huw Edwards' musical direction conducts the Rodgers and Hammerstein orchestrations to perfect avail, and really brings the American landscape to life. Joshua Thorson's live projection design is entirely unique, and heightens a sense of accountability, by really confronting and challenging the characters beyond the text. Act 2 really shifts the style of the musical, taking on more 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 there is.
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 exceeded my expectations past what I ever thought it would be, raring with comedy, chilling, and holding 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 can't 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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