Oklahoma! (Young Vic) London Reviews and Tickets
Show-Score Member Reviews (33)
See it if you like modernising musicals
Don't see it if you don't like it dark
See it if you are interested in a modern, relevant take on a classic with incredible performances and staging.
Don't see it if you are a theatre traditionalist.
See it if The way they have staged this show, and with the wonderful cast, is just incredible. Every bit as good as in New York.
Don't see it if You want a traditional Oklahoma!
See it if you want to see a classic explored in a totally new one, with fantastic new orchestrations and stunning performances
Don't see it if you've never asked yourself "what if oklahoma was sexy"
See it if you can get a ticket.
Don't see it if you have no manners. Read more
See it if You want to see the poisoned heart of the USA laid bare.
Don't see it if you’re REALLY excited about My Fair Lady at ENO. Read more
See it if you love the idea of shining light on the the toxicity rife in the old classic. You get the hit songs without ignoring the problematic stuff
Don't see it if you don’t think there WAS problematic stuff in the original version, in which case, modern theater as a whole is probably not for you.
See it if you want to explore a familiar story in a creative way, you love lively music and dance
Don't see it if you will find seating in the pitch-dark uncomfortable
Critic Reviews (9)
The score is rigorously interrogated by orchestrator Daniel Kluger and sounds utterly fresh. It’s a stunning reinvention by directors Daniel Fish and Jordan Fein, although their radicalism very occasionally feels laboured.
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Crucially, it’s very well cast. If I have a criticism it’s that it’s all a bit meta. Nonetheless ... Fish has crafted something genuinely new and special from ‘Oklahoma!’, or perhaps excavated a truth about it that was there all along
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There’s sterling work across the board, with notables including Stavros Demetraki as the comically lecherous ... Ali Hakim ... and recent Olivier-winner Liza Sadovy as ... Aunt Eller. “Oklahoma, OK” runs that line in the famous title song. OK? Better than that. KO, knock-out.
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It’s a musical of two halves. Listen with your eyes closed and you’ll have no grounds for complaint. It’s in terms of drama that directors Daniel Fish and Jordan Fein will provoke arguments. This is a radically reworked vision of a vintage show.
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It is the most thorough rethinking of Rodgers and Hammerstein that you are ever likely to see, a sensational reassessment of a classic show that both asserts its greatness and casts it in an entirely fresh light. I think it is a masterpiece.
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It’s Oklahoma! with a snarl, disassembled and put back together with deep suspicion. The production succeeds, really, in a number of stunning sequences and images rather than as a whole. This isn’t simply dusting off a classic or giving it a spit and polish, it’s a complete dismantling of the show.
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It’s the supporting roles that make the strongest impression. Marisha Wallace electrifies as the frisky Ado Annie. It doesn’t all work ... But this is still a brave and invigorating show that effortlessly unearths the ugliness that has always glimmered beneath Oklahoma!’s beautiful morning.
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Anoushka Lucas is stoic and alluring as Laurey, a perfect foil for the swirl of male energy around her. Arthur Darvill puts an Elvis Presley spin on Curly, and rather than go for broad strokes bully, he’s more calculated. It seems like a cliché to say that this show couldn’t be more timely.
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