Oklahoma!

Paper Mill Playhouse has gotten its new season off to a terrific start. Their revival of Oklahoma!, directed by James Brennan (who also directed Paper Mill’s well-remembered productions of Kiss Me, Kate and She Loves Me) is as solidly satisfying as anything I’ve seen in Paper Mill in recent years. And that’s saying plenty. This production actually worked better than the last major revival on Broadway; there were some stronger individual performances in that revival, but overall this production—heartfelt, direct and at times surprisingly intimate—touched me more. Paper Mill’s smaller stage serves the story better than the Gershwin Theater’s vast stage did. And this production just feels so natural and down-to-earth; it’s not trying to overwhelm us or dazzle us. And it’s easier for us to connect with the key characters.

This is an ensemble production, with likable performances from Adam Monley as a very human and sympathetic Curley, appealingly warm-voiced Brynn O’Malley as Laurey, sensuous and open-hearted Megan Sikora finding every laugh as Ado Annie (who “cain’t say no”), Brian Sears as Will Parker, Louisa Flaningam as Aunt Eller, Jonathan Brody as Ali Hakim. I was greatly impressed, too, by the choreography of Peggy Hickey. She is new to Paper Mill, but I have a feeling we’ll be seeing more of her. She has carried off this challenging assignment well; I liked the formations and the individual details and “Kansas City,” in particular, is a delight. Brian Sears seems to be having so much fun, singing and dancing that number. (For my own tastes, the dream ballet goes on too long, but that’s part of the show.)

Oklahoma! remains an extraordinarily well-constructed musical, with one strong song and scene after another; my admiration for Richard Rodgers (who composed the music) and Oscar Hammerstein (who wrote the book and lyrics) only grows each time I see the show.

Chip Deffaa
Cabaret Scenes
October 2008
www.cabaretscenes.org