A fresh take on a classic

Having presented diverse topics ranging from the death penalty to Victorian-era blackmail, the Department of Theatre and Drama is ending its 2008-09 season with Rodgers and Hammerstein’s “Oklahoma!” at the Ruth N. Halls Theatre.

Hailed upon its 1943 premiere as the best musical of the century, the story tells of a community in an Oklahoma territory pre-statehood. A cowboy named Curly and Laurey, a farm girl, pine after each other, but both are too stubborn to admit it.

Laurey’s guardian, Aunt Eller, encourages them, although farmers and cowmen do not tend to get along. Their friend Ado Annie Carnes has the opposite problem and must decide between her cowboy sweetheart, Will Parker, and a merchant, Ali Hakim.

The often-performed, well-loved material is embraced by this production. Director and choreographer George Pinney does a lot to give an “Oklahoma!” that is fresh and still remains true to the simplicity implemented by the creators.  

An enthusiastic cast lights up every scene, from three-second hug to three-minute hoedown.

The show’s ensemble plays as important a role as the principals, a fact that does not go neglected and shines as a result.

Mark Banik as the lovable hero Curly is a superb foil to Henry A. McDaniel III, who plays the villainous Jud Fry. McDaniel, incidentally, has shown excellence for portraying frightening figures this season and ends strongly with the addition of his singing talent.

In the role of Aunt Eller, Kristyn Kate Hegner adds a special touch with her Carol Burnett-style humor.  

Jared Rutherford’s rural scenic design merges exceedingly well with lighting by Sean Michael Smallman and costumes by Robbie Stanton. The soft color palette whirling through the performance effectively attests to the past and the classicality of what is largely considered Rodgers and Hammerstein’s best work.

Most notable of all is the opportunity “Oklahoma!” provides for Pinney to flex his endless talent for choreography. A melting pot of styles is found, including breakdance and even some Irish step dancing, while the two-step and square dance also remain intact. This daring experimentation makes for a pleasant surprise, particularly in the longer dance breaks and the signature dream ballet at the end of the first act.

Though not without a dark side, the musical’s overall view is ultimately optimistic.

Complete with timeless music and a Disney-esque ending, the show demands smiles from its audience before and after final bows. “Oklahoma!” closes the theater season on a very high note.