Oklahoma! – by Richard Rogers and Oscar Hammerstein II. Direction and Choreography by Rachel Bertone. Music Direction by Dan Rodriguez. Scenic Consulting by Cameron McEachern. Lighting Design by Frank Meissner, Jr. Costume Design by Emerald City Theatrical. Sound Design by Sebastian Nixon. At Reagle Music Theatre of Greater Boston, Waltham, through July 2.
by Linda Chin
With award-winning director and choreographer Rachel Bertone and music director Dan Rodriguez at the helm, Frank Meissner, Jr. (Lighting Design), Cameron McEachern (Scenic Consultant), Emerald City Theatrical (Costume Design) on the creative team, Reagle’s production of Oklahoma! was bound to be a feast for the senses. From the moment the overture begins, the 19-piece orchestra envelops you with lush sound. The bright yellow drop (adorned with figures of cowmen and farmers) that welcomed you to the theater rises to reveal a world of yesteryear – a farmhouse with a front porch, white picket fences, and a hand-painted backdrop of the open sky that is both realistic and dreamy – you can imagine the sweet breezes and smell of hay.
The woman seated downstage, gazing out into the meadows (the audience) while churning butter, exudes calm and strength; she is the farm’s matriarch Aunt Eller (Carolyn Saxon, making her regal Reagle debut). We hear the first strains of “Oh, What I Beautiful Mornin,” from off-stage and are introduced to the oh, what a beautiful baritone’s owner, Curley (Jared Troilo, last seen at Reagle as Billy Crocker in Anything Goes), the charismatic cowboy. Sweet on Aunt Eller’s niece Laurey (Kayla Shimizu, returning to Reagle after playing Catherine in Pippin last season) Curly has come by to ask her to the box social. She teasingly feigns disinterest, not telling him that she’s been invited to go with another man. The trio’s “The Surrey with the Fringe on Top,” is a jaunty number. Laurey’s “Many A New Day,” and ”People Will Think We’re in Love” show off Shimizu’s soaring soprano and the pair’s chemistry.
Wide-eyed, lovesick cowboy Will Parker (played by actor Jack Mullen, last seen at Reagle as Riff in West Side Story) is part of the story’s second love triangle; his rival for the affection of Ado Annie, a.k.a. the girl who “Can’t Say No” (Rebekah Rae Robles) is a Persian peddler named Ali Hakim (Johnny Gordon). Oklahoma! marks Robles’ and Gordon’s Reagle debuts, but with their strong performances, one expects they’ll be on this stage again. The characters’ lighthearted banter sets the tone that Oklahoma! is a feel-good, family-friendly musical with many memorable tunes.
And amazing dancing. Bertone’s blend of terrific technique in multiple dance genres (jazz, modern, ballet, and more), expertise in mounting big song and dance musicals with big casts, love of musicals classic to contemporary (including, Showboat, Carousel, West Side Story, Pippin – all at Reagle), and strong commitment to storytelling are her trademark. Her choreography entertains and has emotional impact.
What I wasn’t prepared for were the show’s dark moments. Aunt Eller’s hired hand Jud Fry, a mild-mannered, possibly neurodiverse, reclusive man (exquisitely layered and sensitively portrayed by Daniel Forest Sullivan), is treated like an outcast by most of the community for reasons that are not made clear and lives in a smokehouse on the outskirts of their property. In the confines of this small wooden structure, the show’s most brilliant acting takes place. Curly has learned that Jud is taking Laurey to the auction and decides to pay him a “friendly” visit. He finds Jud sitting alone, polishing his gun, staring at the four walls, which are lined with pictures of naked women. The room grows increasingly claustrophobic, the temperature rises and grows more intense as the two wrestle for control of the gun, and a few shots are heard. Curley essentially encourages Jud to commit suicide by hanging himself. Following this scene, Jud’s poignantly performed rendition of “Lonely Room”shows the depth of his isolation and despair and desire to connect with real humans. Act 1 closes with the “Dream Ballet,” which depicts Laurey’s dilemma of being desired by two men. Clocking in at 15 minutes in length, it is performed flawlessly by the company and the live orchestra – no easy feat. In keeping with the mood of the story, Frank Meissner Jr.’s evocative lighting is on full display in the various segments of the Dream Ballet.
Nearly three hours in length, this production of Oklahoma! is not just a fanciful surrey ride – or a quick romp in the hay – that sends you out of the theatre humming happy tunes. Rather, you experience the full range of human emotions that emerge from outstanding live performance; gratitude when the dark moments subside: and joy when there’s a bright, golden haze on the meadow again. For tickets and information, go to: https://www.reaglemusictheatre.org/
