Oklahoma! (London) London Reviews and Tickets
Member Reviews (15)
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 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 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 like it when directors shake up a production so that you can see the material through a fresh pair of eyes.
Don't see it if You don’t like gun shots or being plunged into darkness (more than once!)
See it if you like Rodgers and Hammerstein musicals and don't mind a slight departure from the classic.
Don't see it if you want a classic interpretation, dislike modern dance, aren't willing to suspend disbelief throughout, or want better singing than acting. Read more
See it if you like to see a well performed interpretation of a classic play. It is played in a more understated way than usual for Williams.
Don't see it if you want to see a so-called star performance. Adams doesn't devour the stage but acts as part of ensemble piece.
See it if You like an alternative take on a classic musical
Don't see it if You like traditional productions
See it if You want a fresh, modern take on a classic show
Don't see it if You may be affected by any of the content (check the trigger warnings) or if you want a grand, faithful production
Critic Reviews (8)
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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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 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’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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