By Manning Harris
fmanningh@gmail.com
Just when you may be tempted to think that “Oklahoma!” is an old chestnut that has seen its best days, and it’s time to retire this 71-year-old filly—suddenly Serenbe Playhouse’s incredible new outdoor production in front of an old barn comes roaring out of the south, electrifying audiences and making this landmark musical, running through August 17, the hottest ticket in town.
You may know that “Oklahoma!” opened in 1943 during World War II and was the first collaboration between composer Richard Rodgers and lyricist Oscar Hammerstein II, who also wrote the book. It’s based on a play by Lynn Riggs called “Green Grow the Lilacs,” set in 1906 in Oklahoma Territory near the town of Claremore. From the beginning the show was a game-changer—so is Serenbe’s production. In New York it ran for over 2000 performances to become the longest running Broadway show ever (at that time).
But perhaps more important, as writer Thomas Hischak pointed out, it is “the single most influential work in American musical theatre; it blends song, character, plot, and dance” as never before in the first truly integrated play. Legendary New York Times theatre critic Brooks Atkinson wrote that the opening number, “Oh What a Beautiful Mornin’”changed the history of musical theatre. “After a verse like that, sung to a buoyant melody, the banalities of the old musical stage became intolerable.”
When the handsome young cowboy Curly, played by Edward McCreary, ambles into the playing area on his horse singing this beautiful song, first to himself, then to Aunt Eller (Lala Cochran), sitting in front of the barn, it becomes, for this viewer, a watershed moment in the history of Atlanta theatre. You know then that director Brian Clowdus and Serenbe Playhouse are reaching for something new, bold, and revelatory in this historic musical play. And that moment is only the beginning.
Incidentally, the sound quality is close to flawless; the hidden orchestra and the actors are miked perfectly, courtesy of the best sound designer in Atlanta, Bobby Johnston.
You probably know that “Oklahoma!” is the story of two headstrong romantics: Curly and Laurey (Kelly Chapin Schmidt), a farm girl. There are also cowboy Will Parker (Austin Tijerina) and his flirtatious fiancée Ado Annie (Jessica Miesel) and the traveling salesman Ali Hakim (Tony Larkin). Laurey, in a fit of coquettish spite, promises she’ll go to the box social with the brutish farmhand Jud Fry (Bryant Smith). She quickly realizes she’s in over her head; and we all know she really loves Curly. But her ensuing self-torment plus the tension between Jud and Curly starts to drive the plot.
Speaking of plot, that’s all you get. Even if you know the plot, you really must see this show. The storyline may sound simple (so was “Oedipus”), and it is; but there are depths to be plumbed, and here is where the Serenbe production shines, for it finds the resonance, subtlety, and subtext all just beneath the homespun surface. In other words, it’s not afraid to go to the dark side.
For example, Jud Fry is really quite lonely and disturbed as he festers in his lair in the smokehouse; he has quickly become obsessed with Laurey, and there are hints that he’s not afraid of using violence, either against Curly or even Laurey. The British writer D. H. Lawrence once said: “The essential American soul is hard, isolate, stoic, and a killer. It has never yet melted.” What—in “Oklahoma”? And there’s even smoke coming from Jud’s abode; director Clowdus has a keen sense of what works visually.
The first act ends with something called the “Dream Ballet,” as Laurey dreams of Jud and Curly and the world she’s created. Here Clowdus has given the brilliant choreographer Bubba Carr a free hand to work dark, thrilling magic. He has created something unprecedented, and I was literally on the edge of my seat. I’ve seen the “Ballet” in other “Oklahomas,” but never like this. The visionary choreographer Martha Graham would have approved, and so would Twyla Tharp. Graham knew that dance was drama and drama was dance. So does Carr, and the results here are riveting. I shall only add that Laurey (Ms. Schmidt), in addition to being a fine vocalist, does her own dancing; that’s not often done.
Oh—my single complaint about this superb show, and it’s a selfish, whiny complaint, is that I would liked to have been a bit closer to the actors. I had a great seat, but the audience is seated just a tad farther from the stage (the floor in front of the barn) than is necessary. But not to worry; everybody has a good seat.
This cast is heaven sent. I wish I had space to give more individual praise to the actors. Austin Tijerina is an explosive joy as Will Parker. He acts, sings, and dances like a whirling dervish. If he doesn’t steal the show, he certainly picks its pockets.
Bryant Smith, he of the sublime voice, is superb as a menacing, ultimately very sad Jud Fry. Jessica Miesel and Tony Larkin contribute expert, very funny performances. Becca Potter’s Gertie, she of the obnoxious laugh, is a stitch. Edward McCreary (as Curly) is a matinee idol in the making. Steve Hudson (Ado Annie’s dad) is fine. Lala Cochran’s Aunt Eller is pretty much perfection; she’s funny, saucy, and sort of anchors the whole shebang. Other cast members, all indispensable, include Alexandra Duncan, Nathan Lubeck, Tyler Sarkis, Lauren Chamblin, Brittany Ellis, Robert Lee Hindsman, Will Skelton, Allie Southwood, and Alex Towers. Kelly Chapin Schmidt (as Laurey) sings, acts, and dances like a dream.
Our thanks to Kevin Frazier’s lighting design, Jane B. Kroessig’s costumes, and musical director Nick Silvestri. And I must say I’ve been dazzled by the stunning publicity photographs of the show by BreeAnne Clowdus—they are iconic.
I know you’ve heard many, if not all, the songs. They’ve become part of the universal subconscious:
“I Cain’t Say No,” “People Will Say We’re in Love,” “Pore Jud Is Daid,” “Out of My Dreams,” “Oklahoma,” and others.
You’ll never see a better “Oklahoma!”; I never have. This show is an event—under the stars. Are you reading me? Get out your GPS’s, go to Serenbe’s website, and go to The Hay Barn. Don’t blame me when years from now people ask, “Did you see Serenbe’s “Oklahoma,” summer of 2014?” and you must say “No.” Go.
For more information, visit serenbeplayhouse.com.
