If you love musicals and Rodgers and Hammerstein, you will love Trevor Nunn's production of Oklahoma! There will be inevitable comparisons between this and the 1955 film. Personally, I prefer to judge something on their own terms and it'll stay like that talking about Oklahoma! If I were to choose though, while I do like the 1955 film I do have quite a large preference to this version, with my only complaint being that the unfunny and quite dull characterisation of Ali Hakim, the humour is played too subtly to the point of boredom, the accent is inconsistent and unauthentic and there seemed to be an eagerness to get of the stage as quickly as possible. He also seemed like an out-of-place caricature for my liking.
Coming from somebody who is very fond of Rodgers and Hammerstein, Oklahoma! is always a pleasure to watch and hear. The story is engaging and remains as fresh and imaginative as it was seen on first reception. And the music is marvellous throughout, People Will Say We're in Love for me is one of the best songs Rodgers and Hammerstein ever wrote. Is there anything I prefer in the 1955 film to here? Perhaps the staging of Oh What a Beautiful Morning, done with a lot of spontaneity and charm here but the colour and quality of the sets in the 1955 film have Rodgers and Hammerstein written all over it.
The costumes and sets here are grittier and more evocative than the film, however still with colour and it's still appealing on the eye. The production is well photographed as well, it's never too stage-bound but at the same time it's not too cinematic. For a filmed performance of an opera or musical that is the right approach. Its style and how Trevor Nunn directed did remind me somewhat of Nunn's production of Porgy and Bess, considering how great that is this is very high praise.
Nunn does a superb job directing. The freshness and imagination of the story is not just maintained in his direction and in the production, but it also has great energy and charm. One might say that it lacks the spontaneity of a live performance, perhaps so but numbers especially Oh What a Beautiful Morning does have a spontaneous feel to it. Characterisations are also delved in deeper and given more insight. To make Laurey more tomboyish suited the character well, and Aunt Eller has command and dignity. But the revelation in this regard was with Judd, there is still a menace to him but, unlike the film, there is much more to them to the extent that you feel sympathy for him also. The fact that Lonely Room was left in might have a part in this. The choreography is slick and filled with energy, the dancers are talented also and seem to be having the time of their lives.
Musically, I am racking my brains to find fault. The music is beautifully played by the orchestra, there is a lot of sparkle and power as well as the ability to accompany sensitively to the singers as they voice/sing the thoughts of their characters. The chorus are rousing in their singing and acting of their rendition of the title number Oklahoma! Jimmy Johnston is immediately appealing as Will and is a very athletic dancer, and Vicki Simon- with a voice that I personally prefer to that of Gloria Graheme's- likewise as Ado Annie.
Hugh Jackman's Curly is outstanding. Maybe I prefer the richer voice of Gordon McCrae(who I still liked), but Jackman sings with more emotion and still has a virile voice well suited to the part. The boyish charm, subtle humour and cockiness for me is also brought out more in Jackman's interpretation. Josefina Gabrielle's voice is clear, bright and beautiful in how it rings out without effort, that of Shirley Jones also had that quality. She is utterly beguiling in her youth and innocence, she is both naïve and clever yet never comes across as spoiled. For me also the chemistry between Curly and Laurey is more convincing here. Maureen Lipman makes for a Aunt Eller that is tough but also dignified, wise but also tender, in short the "moral compass" character of the musical given a very strong and memorable presence. Shular Hensley is leagues above Rod Steiger(good and menacing if perhaps too morose) as Judd, you are wary of him but feel for him too. Hensley has a very full and warm voice, singing Lonely Room as if Rodgers and Hammerstein had him in mind when they wrote it, sure that wasn't the case really but I got that vibe.
All in all, simply brilliant and very easy to fall in love with. 9.5/10 Bethany Cox
Coming from somebody who is very fond of Rodgers and Hammerstein, Oklahoma! is always a pleasure to watch and hear. The story is engaging and remains as fresh and imaginative as it was seen on first reception. And the music is marvellous throughout, People Will Say We're in Love for me is one of the best songs Rodgers and Hammerstein ever wrote. Is there anything I prefer in the 1955 film to here? Perhaps the staging of Oh What a Beautiful Morning, done with a lot of spontaneity and charm here but the colour and quality of the sets in the 1955 film have Rodgers and Hammerstein written all over it.
The costumes and sets here are grittier and more evocative than the film, however still with colour and it's still appealing on the eye. The production is well photographed as well, it's never too stage-bound but at the same time it's not too cinematic. For a filmed performance of an opera or musical that is the right approach. Its style and how Trevor Nunn directed did remind me somewhat of Nunn's production of Porgy and Bess, considering how great that is this is very high praise.
Nunn does a superb job directing. The freshness and imagination of the story is not just maintained in his direction and in the production, but it also has great energy and charm. One might say that it lacks the spontaneity of a live performance, perhaps so but numbers especially Oh What a Beautiful Morning does have a spontaneous feel to it. Characterisations are also delved in deeper and given more insight. To make Laurey more tomboyish suited the character well, and Aunt Eller has command and dignity. But the revelation in this regard was with Judd, there is still a menace to him but, unlike the film, there is much more to them to the extent that you feel sympathy for him also. The fact that Lonely Room was left in might have a part in this. The choreography is slick and filled with energy, the dancers are talented also and seem to be having the time of their lives.
Musically, I am racking my brains to find fault. The music is beautifully played by the orchestra, there is a lot of sparkle and power as well as the ability to accompany sensitively to the singers as they voice/sing the thoughts of their characters. The chorus are rousing in their singing and acting of their rendition of the title number Oklahoma! Jimmy Johnston is immediately appealing as Will and is a very athletic dancer, and Vicki Simon- with a voice that I personally prefer to that of Gloria Graheme's- likewise as Ado Annie.
Hugh Jackman's Curly is outstanding. Maybe I prefer the richer voice of Gordon McCrae(who I still liked), but Jackman sings with more emotion and still has a virile voice well suited to the part. The boyish charm, subtle humour and cockiness for me is also brought out more in Jackman's interpretation. Josefina Gabrielle's voice is clear, bright and beautiful in how it rings out without effort, that of Shirley Jones also had that quality. She is utterly beguiling in her youth and innocence, she is both naïve and clever yet never comes across as spoiled. For me also the chemistry between Curly and Laurey is more convincing here. Maureen Lipman makes for a Aunt Eller that is tough but also dignified, wise but also tender, in short the "moral compass" character of the musical given a very strong and memorable presence. Shular Hensley is leagues above Rod Steiger(good and menacing if perhaps too morose) as Judd, you are wary of him but feel for him too. Hensley has a very full and warm voice, singing Lonely Room as if Rodgers and Hammerstein had him in mind when they wrote it, sure that wasn't the case really but I got that vibe.
All in all, simply brilliant and very easy to fall in love with. 9.5/10 Bethany Cox