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 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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The Young Vic’s Oklahoma! if the kind of show you watch after you’ve seen a more traditional, properly staged full version and fallen in love with it. It is a hard sell to anyone who does not have memory to fill in for all the missing elements of this extremely bare-bones production.
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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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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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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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