'Oklahoma!': A Summer Treasure

July 18, 2007

Sue Pascoe , Staff Writer

Wow! The production of 'Oklahoma!' at the Morgan-Wixson Theater in Santa Monica is a treat, a joy and a must-see. The singing is beyond what you'd expect for a community theater production: it is Broadway quality. The dancing is above average, the costumes are good, the cast members are appealing and the set is appropriately simple.

I admit I wasn't excited when I was assigned to review this musical. I was skeptical that a community theater could attract the talent needed, I didn't particularly like the movie, and when I worked at the Manhattan Theater Club in New York City one of my colleagues waxed on endlessly about the musical's importance.

He maintained that 'Oklahoma!' was the start of the American musical, introducing a stage form that was new to the world. For the first time, songs and dances were fully integrated and part of the story. Another fact he was fond of repeating was that this was the first collaboration between composer Richard Rodgers and lyricist and librettist Oscar Hammerstein II.

He also lauded Rogers and Hammerstein because roles in musicals were usually given to actors who could sing, but in this production they cast singers who could act, which meant there were no established stars in the musical that ran 2,212 performances at the St. James Theatre starting in March 1943.

The story of 'Oklahoma!' is simple: Curley McLain and Laurey Williams are in love, but both are too stubborn to be the first to say it. As a result, she agrees to go to the box social'a community event centered on auctioned picnic baskets--with Jud Frye, the sinister farmhand who lives and works on her property.

As both men bid for Laurey's picnic lunch, the audience realizes that this simple charity event to raise money for the schoolhouse has deeper implications. Both men are fighting for the woman they love.

Last Saturday night, it was a wonderful treat to hear the standards sung so well. Curley McLain (Nathaniel Reynolds) starts his opening song in the theater's outside lobby, singing a cappella 'Oh, what a beautiful mornin', Oh, what a beautiful day. Oh, what a beautiful feelin,' Everything's goin' my way.' He enters the stage, making the theater aisle his path to Williams' homestead in the Oklahoma Territory in 1906.

Reynolds (who graduated from UCLA with two degrees in vocal performance and recently performed in 'Die Fledermaus' with the Intimate Opera Company) lights up the stage with his beautiful baritone voice and pleasant presence that shines throughout his performance.

Curley and Laurey (Amy Coles) sing several duets, but none is so lovely as 'People Will Say We're in Love.' Coles is a graduate of the USC School of Music, and her presence and assurance on stage helps the audience realize the struggle she is facing.

Another surprise of this production is that not only do the two leads have great voices, but the whole cast is equally as talented. Playing Jud Frye is Joel Castro, whose voice resonates from his soul, which makes the villain of this musical oddly sympathetic.

Ado Annie Carnes (Alexa Teichgraeber) is fun and energetic as the girl who has recently discovered that men are attracted to her, which leads her to sing the famous song 'Cain't Say No.' Will Parker (Steve Hall), as the not-so-bright cowboy, stayed in character perfectly'earnest, but not over the top. The peddler, Ali Hakim (Steve Hall), was funny as he tried to worm his way out of a marriage to Ado Annie. I found his accent amusing and in character.

Praise must be given to the choreographer, Krystal Karpel Combs, because it can't be easy to take a 27-member cast, a tiny stage, predominantly singers (who may not have a dance background), and turn out production numbers that rock the theater.

The cowboys' dance was pure male energy. The ballet dream number, choreographed for the original Broadway musical by the legendary Agnes de Mille, was flowing and well executed by Natalie Brown.

In the Playbill biography, the author writes about director and costume designer Anne Gesling: 'Since this is her fourth time directing this show, she hopes she is finally getting it right.' Gesling, you got it right, and you got it right big time.

The show runs through Sunday, July 29 at the Morgan-Wixson Theatre at 2627 Pico Blvd. Showtimes are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. Ticket information: (310) 828-7519.