Customer Reviews

Oklahoma

5 star:		(81)
4 star:		(13)
3 star:		(3)
2 star:		(4)
1 star:		(6)

 

 

The 1999 London production of "Oklahoma!", directed by Trevor Nunn with choreography by Susan Stroman, was the first major departure ever from the original Joshua Logan-Agnes De Mille production of 1943. It was a gamble that paid off big, for the performance recorded for posterity on this DVD is absolutely brilliant--funny, riveting, and deeply poignant. The dancing is astonishing, and the beloved Rodgers & Hammerstein songs have never sounded so good. Nunn and Stroman know how to stage each number for maximum dramatic effect, so that the songs come across less as songs than as dramatic monologues in music--which is, of course, exactly what Rodgers & Hammerstein wanted.

The cast of this version is so wonderful that it is impossible to talk about them in anything but superlatives. (I might make a slight, regretful exception for Vicki Simon as Ado Annie, who is merely very good whereas everyone else is spectacular.) As Will Parker, Jimmy Johnston--an endearing if improbable cross between Will Rogers, Russ Tamblyn and Jack Black--barrels through his big number, "Kansas City," with infectious glee and astounding athleticism, including a dandy exhibition of trick roping. Some reviewers have pointed out that Peter Polycarpou's accent as Ali Hakim is shaky, but there's no quibbling with his singing or his comic timing; in appearance and talent, he reminds me more than a little of Tony Shalhoub. Maureen Lipman is a perfect Aunt Eller, tough as an old birch tree, plain-spoken and drily witty as she dispenses tough love to the residents of Claremore, Okla. Josefina Gabrielle is an earthier Laurey than we're used to, but she's a good singer and an exquisite dancer, and she makes Laurey's confused longings as painful as a punch in the gut.

The real acting honors, however, must be divided between the romantic rivals--Hugh Jackman as Curly and Shuler Hensley as Jud. This production launched Jackman's international career, and no wonder--from the first few bars of "Oh, What a Beautiful Morning," you can't take your eyes off him. He is visually perfect as Curly, he dances well and sings beautifully, and--above all--he exudes charisma from every pore. Hensley combines a rich, operatic baritone with a brooding, menacing stage presence; he makes Jud a classic monster, evoking both pity and terror. His solo number, detailing both his pitiful loneliness and his doomed love for Laurey, is one of the most riveting pieces of dramatic singing I've ever seen or heard.

Every time I watch a version of "Oklahoma!" there are two conclusions that I always reach. The first is that there is no greater chorus in the American musical than the title song from this show. No wonder as soon as it is finished the cast does it again and then for good measure does it at the end of the curtain calls. It always gives me chills when they do the big finish and it occurs to me that the song "Oklahoma" is our secular equivalent of "The Hallelujah Chorus." The second inevitable thought is that Shirley Jones had a truly great singing voice, perfect for musical theater. Any one who plays Laurey Williams is going to suffer in comparison when it comes to the singing (the test case remains the same: the end of the reprise of "People Will Say We're in Love."

That is not to say that this 1999 London Stage Revival of the classic Rodgers and Hammerstein musical is not impressive. Director Trevor Nunn restores the full text and you can see why Richard Rodgers and Oscar Hammerstein II were both interested in turning Lynn Riggs' play "Green Grow the Lilacs" into a musical. It might seem strange to say so, but one of the strengths of this production is that the acting is so solid. The comic relief characters like Will Parker (Jimmy Johnston), Ado Annie (Vicki Simon), and Ali Hakim (Peter Polycarpou), are given more gravity without sacrificing the humor. Of course, part of this is because the show was not really filmed before a live audience, even though there are applause and shots of the audience from the stage at the end of most of the musical numbers. So never is heard a laugh from the audience during the proceedings, which necessarily gives more weight to the characters and the action.

Hugh Jackman is the main attraction as Curly McLain, mostly because fans have problems believing this is the guy who plays Wolverine in the "X-Men" movies, although having just won the 2004 Theater Wings Best Actor in a Musical Tony Award for portraying singer Peter Allen in the Broadway version of "The Boy From Oz" should establish his bona fides in this regard. Josefina Gabrielle plays Laurey Williams as more of a tomboy, and if her singing is solid but unspectacular, her acting and dancing bring some new dimensions to the character as well. The dream ballet has the novelty of being the first major production in which Curly and Laurey do their own dancing. There are those who do not care for the sequence on principle, but having it here as the end of the first act makes for effective foreshadowing.

It is hard to think there could ever be a bad Aunt Eller, and Maureen Lipman shows how well the role can work when it is underplayed. But I think the standout performer here has to be Shuler Hensley as Jud Fry (Hensley played the Frankenstein Monster to Jackman's vampire hunter in "Van Helsing" this summer). The character is the villain and he never seems to quite work in most of the version of "Oklahoma!" I have seen. But Hensley brings a subtlety to the role that really makes it work. You get a sense of how he is dangerous without him being overtly threatening; in other words, you can understand why Laurie would consider him, even if only for a moment. Having such a strong performer in that role really elevates the show.

"Oklahoma!" holds up really well, provided you are open to what we would not consider to be an old-fashioned musical (anything by Rodgers & Hammerstein and/or before Stephen Sondheim and Andrew Lloyd Webber), and Nunn deserves a lot of the credit for crafting this production. The only serious complaint with the DVD is that all we have on the Bonus Disc is a 24-minute featurette on the production. While that has its moments (the Rodgers & Hammerstein people are actually puzzled as to why Nunn wants to do the show, as if the British have no understanding or respect for the classics) it is hard to believe they could not fit it on the other disc. In comparison, the "Mystic River: Bonus Disc" has 189 minutes of material.

I just watched this on PBS and ran immediately to the computer to order the DVD. I grew up working in local summer stock and community theatre--went on to major in theatre in undergrad before going to grad school for something more consistent with regular work. I worked on or was in a couple of productions of Oklahoma, and have seen several--some great, some not. I have always appreciated the wonderful music and the nearly operatic tone of the show. But before tonight, I had never seen this theatrical classic ACTED. It was spellbinding. Who knew what a great piece of drama this show could be? And for icing on the dramatic cake, the dancing was Seven Brides for Seven Brothers quality, and the vocal performances were the best, in aggregate, I've ever even heard ABOUT. The character of Jud Fry worked in ways I never new it could, due to inspired direction and a tour de force performance. Laurie and Curly actually dancing the dream ballet themselves removed a perenial speed bump in the show. Everything--just EVERYTHING works in this production. For me this is the definitive Oklahoma, and therefore the definitive musical theatre piece. If this wasn't what R and H intended, it should have been. It is a different show than the one I thought I knew. What a production! I can't wait for the DVD to get here so I can watch it again. Wow!

I've been a fan of Rodgers and Hammerstein for years, but Oklahoma was far from my favorite R&H show. The fifties Hollywood version always dissapointed me, I always thought the characters were so cardboard and one dimensional and the story so trite. Then one night I caught the second act of the London Stage Revival during a PBS pledge drive and had to get this. This is the reason I love musicals. This version enchanted me. The story was ACTED and acted so well. The dancing was rousing, robust and masculine. I haven't seen anything to top Seven Brides for Seven Brothers until now. I defy anyone to declare that the dancing in The Farmer and the Cowhand is sissified or to be able to sit still watching it. All the performers are wonderful, but Skyler Hensly is the quintesential Jud and Hugh Jackman is the essential Curly. He may not sing as well as Gordon McCrae but he makes up for it in making Curly a real character. Run and get this version!!!

Having seen the movie version of this landmark musical a long time ago, it was an unexpected and very pleasant surprise for me to see the stage treatment of the show's revival in London a few years ago. What I saw was a more dramatic, a more engaging, and a more sophisticated version of this first of Rodgers and Hammerstein many stage musical hits. The characters had more depth to them, the songs more robustly sung, and the dancing as energetic as ever.

Part of the success is due to the masterful direction from Trevor Nunn and his decision to engage non-star actors like the Australian find Hugh Jackman, dancer/singer Josefina Gabrielle and Shuler Hensley, and of course veteran Maureen Lipman. Hugh's stage presence and singing ability is a wonderful surprise - presaging the star quality that now has him ready to open the 2003 Broadway season's most awaited show " The Boy from Oz" as well as the fine acting and magnetic presence which have launched him to superstardom in films... It was not surprising that Hugh was chosen to re-enact the role of Billy Bigelow from the second Rodgers and Hammerstein musical hit "CAROUSEL" when it was presented in concert at Carnegie Hall on the centennary of Richard Rodgers in 2002. Long before he became Wolverine or the Duke of Albany, Mr. Jackman belonged to the musical theatre stage!

I have the DVD- Region 2 of this filmed stage version -- and I have practically worn it out from much use. The show is fairly long ( 3 hours or so) but it captures other scenes and songs not seen in the movie version. There is a good documentary on how the show and the filmed stage version came into being, which is very useful in appreciating this stage classic.

The daughter of Richard Rodgers was all praises for this version of OKLAHOMA! ... I can only say AMEN to that!

High-energy encapsulation of the American spirit in this tough-tender production. Done lean and hard-scrabble, as opposed to the lush and green Hollywood version. Curley really is as wonderful as he sings he is. Aunt Eller, the matriarch, as done by Maureen Lipman is tough, and loving. Jimmy Johnson, the Welshman, jigs and does rope-tricks. Shuler Hensley's Jud is repulsive, and vulnerable. A classic. For your permanent library.

I have seen many, many, many productions of "Oklahoma" over the last fifteen years. If you live in this state, it's pretty much a given that if one of your younger relatives (or a close friend's relative) has any musical talent at all, they will appear in a junior high or high school production of this musical. I've also enjoyed the summer performance at Discoveryland, which is the official "National Home" of the musical. And, of course, the 1955 film with Shirley Jones and Gordon MacRae has been an often-watched favorite on my VHS/DVD shelf for many years.

Frankly, I bought this DVD for one reason--I was curious to hear if Hugh Jackman could sing. Let's face it--he's gorgeous to watch (and my husband gets jealous every time I say that, LOL), but I had a great deal of trouble imagining him in this rough-and-tumble cowboy role. In fact, the thought of "Oklahoma" on the London stage was a concept I had trouble accepting intellectually.

Boy, was I wrong.... :)

I agree 100% with Mary Rodgers. If you only have the chance to see one performance of "Oklahoma" in your lifetime, THIS is the one to see.

Shuler Hensley is magnificent as Jud Fry, and well deserving of all the awards he received. Jimmy Johnson and Vicki Simon make a delightful pair as Will Parker and the "I can't say no" Ado Annie. Maureen Lipman provides the heart of the family with her performance as Aunt Eller.

But Jackman and Josefina Gabrielle...well, there are no words. They weren't the typical clean-and-polished Curly and Laurey that we're so used to seeing. Laurey was <gasp!> barefoot and wearing pants! Curly *looked* like a cowhand who had just come off the range. They were...well, real. Genuine. Laurey had doubts about marrying a cowboy; Curly had doubts about giving up his life in the saddle and settling down as a farmer. Curly was *nervous* when he stumbled through his proposal...and Laurey *still* had doubts about accepting.

Again, the only word that comes to mind...real. Human. True human emotions. And, amazingly, not a British/Australian accent anywhere to mar the perfection.

Oh, and did I mention that Hugh Jackman was gorgeous?? :)

Yes, some of the set changes are a bit confusing when they cut in the audience reactions. But I was so caught up with the presentation that the distraction was a minor inconvenience at worst.

If you're trying to make a choice between this version and the 1955 movie...get both. But get this one first :)

Yes...Hugh Jackman can most definitely sing. And did I mention that he's...well, you get the idea :)

OKLAHOMA! opened on Broadway in 1943 and became a classic - not only because the Rodgers and Hammerstein score was so strong, but also because Agnes De Mille was brought in to introduce serious choreography to the Broadway stage. For the past 64 years this musical comedy/drama has been on the boards both professionally and in high schools, colleges and community theaters and always meets with audience acclaim. In 1999 Trevor Nunn reshaped the work, added choreography by Susan Stroman, beefed up the orchestrations, and re-staged the old warhorse in London and the result is an entirely fresh look and appreciation for an 'American classic'.

Nunn opens the inner conflicts of the story and emphasizes some of the more minor characters, a move that adds to the dramatic flow of the work. Yet his biggest asset is the presence of Hugh Jackman as Curly, a handsome stage presence who also happens to possess a strong baritone singing voice and is an agile dancer. From the opening bars of 'Oh, what a beautiful morning' he has us in his back pocket. The remainder of the cast is strong, with special kudos to Maureen Lipman as Aunt Eller, a woman of such plainsman power that she holds the story together with ease. Josefina Gabrielle as Laurey is a fine dancer and has a supple if monochromatic voice and brings a different kind of life to her role. And for once the sinister Jud Fry becomes an understandable villain in the fine work by Shuler Hensley.

For those who don't like audible applause from an audience during a show the technique of making the film appear like a live production will disturb. For this viewer seeing the British audience become involved in the response of this musical made it that much more fun. This is a very fine performance and film of an old American treasure. Grady Harp, May 07

Seeing this wonderful British version was like seeing Oklahoma for the first time. It's triple threat cast - they can act, sing AND dance - were just thrilling. Beautiful, and multi-range voices, energetic dancing and perfect deliverly of their lines made this a pure pleasure. Who would have thought that a group of Brits could do a play about the American frountier better than we Americans. But they pulled it off. I have seen a half dozen versions of this play on stage and with this production I found myself laughing out loud at the lines, even though I knew the dialogue by heart - getting goose bumps from the songs - and being enthralled at the choreography, which is reminiscent of the original DeMill, but much more athletic and energetic. This is a filmed stage production, so the set is rather stark, but very cleaverly done, and it does not take away from the play, because you can't keep your eyes off the cast! For those who have never seen Oklahoma, this is the perfect one to introduce you to the great American musical. For those who are familiar with it - what a wonderful surprise this will be for you.

I just saw this version last night on TV and I must say it breathed new life into Oklahoma! Each player is perfectly cast. When Jackman sings "Oh, What a Beautiful Morning" you can practically smell the wildflowers on the prairie. His body moves about the stage with ease, creating a strength that was missing with Gordon MacRae, who tended to be charming but not much more. Josefina Gabrielle is a convincing Laurey, and it is nice to see a brunette in that role for a change. Shuler Hensley is magnificent as Jud, forbidding yet vulnerable. You can see the hurt, small boy in him, yet you would not trust him. His is an interesting character study. Rod Steiger was sexual, big, and brutish, but his voice was a mousy weak tenor. Shuler is threatening and has a marvelous voice to match. Vicki Simon as Ado Annie is a big improvement over Gloria Grahame whose singing style to me was always affected and annoying. Aunt Eller in this production is wonderful--we can see the girl she once was as she falls for Curly's surrey imaginings, closing her eyes to visualize it. She is a cross between Irene Ryan and Cloris Leachman, yet much fresher. In short, I thoroughly enjoyed this production. It was also great to see the Will Parker character twirl that rope and dance with such aplomb. It was also great that the dream ballet squence used the real characters, Hugh and Josefina, instead of substitutes. The players are all lively and completely engaged in the production. A thoroughly enjoyable version of Oklahoma.