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Peer Reviews Oklahoma! Directed by Alan Weller Reviewed by Sherry Deatrick Entire contents are copyright © 2009 Sherry Deatrick. All rights reserved.
Oh, what a beautiful mornin', Everything's going Hayswood Theatre's way in its production of Oklahoma!, one of America's most beloved musicals. A trip to historic Corydon to see this show, with its unfettered optimism, is just the thing to cheer us up during these dark days. Take the time to stroll around downtown before making your way to your seat in the intimate theater. Bask in that old-fashioned small-town charm. Have an ice cream cone. Have two.
Set in 1906, when Oklahoma was about to move from territory to state, this show is about so much more than the need for cowboys and farmers to be friends. It's our national anthem, in a way; a tribute to our hardy pioneer forebears who realized they had to be strong in order to bequeath to us the "sweet and tender life." No wonder we can't get enough of Oklahoma! Director Alan Weller welcomes the audience with a joke about turning off all alarm clocks along with cell phones. As the lights come up, Aunt Eller (Heidi Platt) languidly churns butter outside the farmhouse she shares with her niece, Laurey (Jennifer Poliskie). It's a beautiful day, and along comes cowboy Curly (Jeff Ketterman). Ketterman broadcasts Curly's joyful wonder at the bright, golden haze on the meadow, where everything is possible – except getting a date to the box social with Laurey. Ketterman is magnetic and electrifying as Curly, with his rough-hewn, leathery good looks and curly brown hair. His voice is strong and clear, and his lilting rendition of the opening number sets the tone for the evening. He makes you want to curl up inside his imaginary fringe-topped surrey and ride along wherever he decides to go. Poliskie is at the top of her game as the kittenish farmgirl, and is in the best voice I've heard from her (and I've seen her in quite a few productions). She takes us into Laurey's world little by little, until we're completely immersed in Laurey's psyche. And it's a fine place to be. Under Weller's excellent direction, Poliskie's Laurey is playful and sweet, whether giggling with her friends or teasing Curly. You can't help but fall in love with her, and it's clear why Curly is driven mad enough to sell the tools of his trade to win her. I was a little worried when I saw Laurey's friends surround her during "Many a New Day." These girls (some still in elementary school) surely couldn't be up to the task, I thought. I was wrong. Casting such young girls in these roles is a stroke of genius. They sing and look like angels, urging Laurey gently into womanhood, just as Grecian maidens did in ancient mysterious rites. It is a little strange, however, when the young girls chase after the much older men at the end of the number. The set appears to be the same one used by the Clarksville Little Theatre, and it works perfectly on the medium-sized stage here. The farmhouse is switched around to become hired hand Jud's smokehouse, a dingy room covered with pin-up posters. Allen Platt (Heidi's husband) plays the stalker Jud with eerie, unforgettable perfection. As he sang "Lonely Room," after Curly fails to convince him to hang himself, I thought of Nick Cave, famous for his dark "murder ballads." Jud's confrontation with Curly only heightens his resolve to win Laurey's heart. After all, she agreed to go with him instead of Curly to the box social. But Laurey's abhorrence of Jud is palpable. Poor Jud. She uses the "Egyptian potion" the peddler Ali Hakim sold her to try to clear her head but falls asleep into a nightmare involving Jud and Curly. Unfortunately, the dream sequence is a bit weak and rushed here. Fine performances are given by the supporting cast members. In particular, Gary Crockett is winning as the not-very-bright Will Parker, who needs $50.00 in cash so he can wed Ado Annie, the farmer's daughter with raging hormones. He slyly winks and nods during "All Er Nothin'" while being almost carried off by two young girls, one on each arm. Cathy Butler-Weathersby is less brash as Ado Annie than I've seen in other productions, but it makes her goofily likeable. She just "cain't say no," and why should she? Heidi Platt gives a strong performance as the wise Aunt Eller. Chris Well exhibits pinpoint comic timing as the "Persian" peddler, Ali Hakim. Charles Swarens is perfect as Ado Annie's father. He reminded me a bit of Lyndon B. Johnson. The finale never fails to transport me to a blissful ecstasy. The cast knew what they were doing as they chanted "Okla...homa...Okla...homa" over and over, then moving even closer to us, kneeling down, their eyes gleaming. It's a powerful experience that should not be missed. One minor quibble must be mentioned. The program doesn't list the song titles and is rife with misspelled character names. "Curly" is sometimes referred to as "Curley." "Laurey" appears as "Laurie" in the synopsis. Likewise, "Jud" is misspelled "Judd" there. There's never a dull moment in Oklahoma! and there's plenty of great music. Even if you've seen it before, it never gets old. And Hayswood Theatre's version is fresh and nothing short of wonderful.
Oklahoma! Featuring Jennifer Poliskie, Jeff Ketterman, Heidi Platt, Allen Platt, Gary Crockett, Cathy Butler-Weathersby, and Chris Well. Choreographer - Rita Hight
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