R&H classic still entertains

Thursday, June 15, 2006 -- The Truth Elkhart, Indiana
By Marcia Fulmer
Entertainment Editor

If you've never seen Rodgers & Hammerstein's all-time classic musical, "Oklahoma!" there are several opportunities this summer.

The first began Tuesday evening at The Barn Theatre and, thanks to tight staging by director Scott Burkell, fast-paced and inventive choreography by Jayme McDaniel, some lovely-to-listen-to voices and solid characterizations, the old familiar story/score seems almost fresh and new.

The romance of farm girl Laurey Williams and cowboy Curly McLain is set against the background of Oklahoma's impending statehood, with their push-me/pull-you relationship mirroring the struggle between the cowmen who champion open range and the farmers who definitely don't.

Their courtship is marked by some of R&H's most beautiful melodies -- "People Will Say We're In Love," "Surrey With the Fringe on Top," "Out of My Dreams" and, of course, "Oh, What a Beautiful Morning." That these are delivered beautifully by Christine Robertson and Eric Parker is a real plus.

Curly's a capella opening is always a signal as to what will follow. From Parker's first note, it was all good. Robertson, a newcomer to The Barn, was an excellent match, her warm, clear soprano soaring easily and allowing audience members to just sit back, relax and enjoy. Both also found the right dramatic notes for their pseudo-feisty characters, turning their "squabbles" into thinly-veiled love matches.

The third point of their triangle is Jud Fry, described by Laurey's friend Ado Annie Carnes as "a bullet-colored growly man." Certainly not one you'd want to be alone with, even in daylight. As Jud, Joe Aiello gives new meaning to deeply disturbed and definitely dirty ... in more ways than one. He is ominous to the point of wondering why Laurey would opt to be with him, even in her quest to one-up Curly in the "who needs you?" department.

Another triangle, this on a much lighter vein, is created by Ado Annie (Kelly Maier), Will Parker (Anthony Christian Daniel) and peddler Ali Hakim (Roy Brown) -- here pronounced (for reasons unknown) Aleeeee Hakeeeeeem. However you say it, they make a delightful combination, especially Maier, unbelievably only a first-year apprentice who is probably the next Kristin Chenowith. She is absolutely adorable. Her voice is clear and true without being ear-shattering and her comic timing is right on the money. Ditto Daniel, who delivers some excellent high steps as the slightly dense cowboy who can't seem to hold on to his cash. The talented Brown is a Barn favorite whose looks and shrugs speak volumes. I did miss the peddler's original ironic ending, deleted here, as the unwilling hubby of Gertie Cummings (Bethany Wood), she of the ear-shattering laugh, who also is done out of an "Oklahoma hello."

Refereeing the comings and goings of the various pairs is Mychelle Hopkins as Aunt Eller. She creates an strong and independent farm woman who speaks her mind yet always finds time to listen and has no problem unleashing her temper when the situation demands.

One of the key elements of "Oklahoma!" is the Dream Ballet. Original choreographer Agnes deMille was the first to fuse dance with storyline and, especially in the Act 1 finale, reveals characters hidden hopes and fears. As danced by the company, with Alexandra Ausman and Jamey Grisham as Dream Laurey and Dream Curly, it was a pleasure to watch -- something the ballet segment frequently is not.

Choreographer McDaniel also puts a lot of life in "Kansas City" and the Act 2 opener "The Farmer and The Cowman," when every member of the ensemble doe-si-does and high kicks with enviable energy.

The sets are properly prairie-like, with patches of corn stalks used to enhance and disguise as necessary. The costuming is executed in fairly dull hues, also prairie-like, but I do question Laurey's spending almost all of Act One in overalls (?).

Supporting the singing and dancing, conductor Matthew Smedal keeps the tempos moving along but there were too many missed notes, even for opening night, and whether the fault lay with the musicians or the sound engineer, the orchestra frequently was way too loud.

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