Re: my one line summary - I was wrong, so very wrong! Minor warning: it still hasn't lost the feel of a filmed stage musical, but the good news is that this fact won't probably impair your enjoyment of this wonderful revival of 'Oklahoma!' I find the cast much to blame. Maureen Lipman is sublime, the best Aunt Eller ever! Hugh Jackman is cheeky enough and masculine enough as Curly, and in astounding revelation to my humble self proves he can sing, truly and powerfully sing. Josefina Gabrielle is a sweet yet wilful Laurey and I just love what Shuler Hensley does with Jud and Peter Polycarpou as Ali Hakim is simply wonderful. Considering that this belongs to the stage and all I still think it deserves a 10 out of 10. Certainly much better than the so-called classic film adaptation. Those films put me off Rodgers & Hammerstein with all their big budget distractions and sometimes poor acting(with singers dubbing the actors or not)to tarnish the beauty of much of their work. This? This is beautiful and does the words&lyrics justice.
40 Reviews
One of the best renditions ever!
rogrogers14 January 2005
Not that I would ever proclaim heresy against the "original" Gordon McRae movie, but those folks looked too clean - meaning, the main characters are too well dressed, too refined, too ... clean. The London stage production of the play is well set, and the characters look like roustabout cattle drivers, rough-hewn farm hands, floozy girls, and hard-worn ranchers from turn of the century Oklahoma. Shuler Hensley is wonderful as Jud Fry, and Maureen Lipman makes an Aunt Eller you just want to take home with you! The use of a rotating set for scene changes allows for a wonderful continuity of the story Everyone I know who has been involved in a production of OKLAHOMA! on a local theater level (you know, folks like you and me!) say that this is the best OKLAHOMA! ever!
Fabulous!
www_dot_tmcc24 August 2013
I have always been a fan of the American musical, but never got hooked on Oklahoma! until I saw the 1999 version with Hugh Jackman. Performed as a stage-to-screen version of the West End production, almost every aspect of the performances are enhanced with simplicity, innocence, and pure talent. The standout performances are by Hugh Jackman (as Curly) and Shuler Hensley (as Jud). Jackman's voice is as pure and strong as his character is (produced before he became an international star, this is no bit of stunt-casting to bring in audiences), and Jackman brings more to the character of Curly than Gordan McRae did, in my opinion. His Curly is strong, handsome, and confident, but more fun-loving than McRae's, and he has a certain charm and vulnerability that has been lacking in most previous productions. He obviously loves Laurey from the beginning, and seems as aggravated with himself as she is at him for the fact that he can't seem to help teasing her. Words are hardly enough to express the brilliance of Hensley's take on the dark, brooding farmhand, Jud. In most productions I've seen, Jud may seem a little creepy at worst, until he snaps. Hensley, however, plays Jud as near-psychotic from the beginning, so that the threat seems very real when Curly confronts him ("Poor Jud is Dead") and when Laurey is alone with him. I am also thrilled that the song "Lonely Room" was included, as it not only shows off Hensley's hauntingly beautiful singing voice, but brings depth to Jud's character and story. I absolutely love the changes made to the traditionally prim and proper character of Laurey. It's always annoyed me that a young woman on the frontier has always been costumed in fresh, clean, floor-length gowns. The decision to play Laurey a little younger, in overalls and a ponytail, is more realistic, and I believe it makes Curly's attraction to her and their constant ribbing more realistic. This Laurey is spunkier, but with a vulnerable side, and it's refreshing. Like her male counterparts, Gabrielle delivers some beautiful singing, dancing, and acting. One of the things that impressed me most about the leading performers was that, unlike almost every other professional production, they perform the dream ballet sequence at the end of Act I themselves, instead of using stunt doubles, and they dance it well. The decision to use the actors we're familiar with instead of so-called lookalikes vastly improves the flow of the show. The supporting cast is wonderful as well, particularly Maureen Lipman and Vicki Simon as Aunt Eller and Ado Annie, respectively. I was particularly glad to see an expanded, more believable portrayal of Ali Hakim (Peter Polycarpou). The only dim light in the supporting cast is Sidney Livingstone as Andrew Carnes. For some reason, he apparently could not be bothered to develop the necessary regional accent, and delivers every one of his lines with a strong British accent that seems jarring. Overall, I think this is one of the best stage-to-screen versions of a musical I've ever seen. The close camera shots and simplicity of the sets and staging gives the sense that you're simultaneously watching a stage play and a movie. Very entertaining and a refreshing twist on the standard musical.
Oklahoma--MORE than OK
divaclv28 June 2004
In 1943, "Oklahoma!" debuted on Broadway, and in doing so reinvented music theater. Roughly fifty-five years later, Trevor Nunn reinvented "Oklahoma!". The result is something very rare indeed: a production that not only captures the original appeal of its source, but also brings new facets and dimentions to a familiar work.
The story itself remains simple, almost quaint: young pioneers Laurie (Josefina Gabrielle) and Curly (Hugh Jackman), like a prairie-school Beatrice and Benedick, tease, flirt, goad each other, and otherwise go out of their way to avoid admitting their obvious mutual attraction. But hired hand Jud Fry (Shuler Hensley) nurses a much less wholesome desire for Laurie, and his obsession starts to boil over into a serious threat. Meanwhile in the comic subplot, cowboy Will Parker (Jimmy Johnston) tries to prove himself worthy of his sweetheart Ado Annie (Vikki Simon) before her father can marry her off via shotgun to an unwilling Persian peddler.
But presentation is everything, and it is here that Nunn's genius shines through. Gone are the clean gingham gowns and pristine landscapes of so many productions past. The sets have a weathered, hard-used look to them, with a cast to match. One can almost feel the sweat and dust clinging to them. This is a harsh frontier we're entering, where there is certainly joy and laughter but also lots of hardship, poverty, and desperation. It's no wonder so many characters cling to their pride, risking everything on a single grand gesture--their pride is one of the few things they can truly call their own.
The three lead actors are excellent, easily some of the best I've seen in the material. From the moment he strides onstage singing "Oh What a Beautiful Mornin'," Jackman is a captivating and fully-developed hero. He brings much of the same cocky bravado that has defined Curly over the years, but balances it with healthy doses of anxiety, bitterness, and sensitivity. Not to be outdone, Hensley's Jud (a creation which quite justly earned him a Tony Award) starts out as a somewhat sad and pitiful creature, but gradually reveals the explosive rage buried inside him. As the woman who comes between them, Gabrielle balances nicely between naivitee and cleverness, and sings in a clear, beautiful soprano.
Of the supporting cast, Maureen Lipman is the standout as that quintessential pioneer matriarch, Aunt Eller. Wise as her years, hard as her life and tender as a sunset, she is the story's moral compass. Simon and Johnston are good, albiet rather conventional in their interpretations. As the peddler Ali Hakim, Peter Pollycarpou is the one false note in the cast, with a huckster attitude and an accent that sounds nearer to Manhattan than the Middle East.
Is this "Oklahoma!" better than the 1955 film with Gordon MacRae and Shirley Jones? Arguments will abound for both sides, but at some point the comparison becomes superfluous. The two were created several decades apart, with different approaches and ideas about the story. Suffice it to say, this is and excellent performance, with solid direction, good choreography, and a strong cast. That is recommendation enough.
The story itself remains simple, almost quaint: young pioneers Laurie (Josefina Gabrielle) and Curly (Hugh Jackman), like a prairie-school Beatrice and Benedick, tease, flirt, goad each other, and otherwise go out of their way to avoid admitting their obvious mutual attraction. But hired hand Jud Fry (Shuler Hensley) nurses a much less wholesome desire for Laurie, and his obsession starts to boil over into a serious threat. Meanwhile in the comic subplot, cowboy Will Parker (Jimmy Johnston) tries to prove himself worthy of his sweetheart Ado Annie (Vikki Simon) before her father can marry her off via shotgun to an unwilling Persian peddler.
But presentation is everything, and it is here that Nunn's genius shines through. Gone are the clean gingham gowns and pristine landscapes of so many productions past. The sets have a weathered, hard-used look to them, with a cast to match. One can almost feel the sweat and dust clinging to them. This is a harsh frontier we're entering, where there is certainly joy and laughter but also lots of hardship, poverty, and desperation. It's no wonder so many characters cling to their pride, risking everything on a single grand gesture--their pride is one of the few things they can truly call their own.
The three lead actors are excellent, easily some of the best I've seen in the material. From the moment he strides onstage singing "Oh What a Beautiful Mornin'," Jackman is a captivating and fully-developed hero. He brings much of the same cocky bravado that has defined Curly over the years, but balances it with healthy doses of anxiety, bitterness, and sensitivity. Not to be outdone, Hensley's Jud (a creation which quite justly earned him a Tony Award) starts out as a somewhat sad and pitiful creature, but gradually reveals the explosive rage buried inside him. As the woman who comes between them, Gabrielle balances nicely between naivitee and cleverness, and sings in a clear, beautiful soprano.
Of the supporting cast, Maureen Lipman is the standout as that quintessential pioneer matriarch, Aunt Eller. Wise as her years, hard as her life and tender as a sunset, she is the story's moral compass. Simon and Johnston are good, albiet rather conventional in their interpretations. As the peddler Ali Hakim, Peter Pollycarpou is the one false note in the cast, with a huckster attitude and an accent that sounds nearer to Manhattan than the Middle East.
Is this "Oklahoma!" better than the 1955 film with Gordon MacRae and Shirley Jones? Arguments will abound for both sides, but at some point the comparison becomes superfluous. The two were created several decades apart, with different approaches and ideas about the story. Suffice it to say, this is and excellent performance, with solid direction, good choreography, and a strong cast. That is recommendation enough.
Yup, Hugh Jackman can sing
g_jon1 December 2003
I originally tuned into PBS' broadcast because I was curious about Hugh Jackman's singing. - He was absolutely charismatic. It was too bad that Curly didn't have more stage time! I hope I can see him live in a musical or in a play sometime soon. Film work just does not do justice to his talents.
While I tuned in out of curiosity, the updated production, exuberant musical numbers, staging, and dancing kept my attention. This production of "Oklahoma!" re-affirms my love of live theatre.
While I tuned in out of curiosity, the updated production, exuberant musical numbers, staging, and dancing kept my attention. This production of "Oklahoma!" re-affirms my love of live theatre.
I loved it!
Lady Henry15 August 2003
I loved this film. I grew up on the movie and after watching this version, the movie is flat! I loved Aunt Eller and Hugh Jackman was terrific as Curly. I loved the emotion that was put into the music. Watching this reminded me of what is so good about theater.
Wonderful! Engaging! It will having you singing.
millie81514 December 2004
This is a wonderful stage production of Oklahoma! As a teaching guide for my drama students, Oklahoma! has everything that I need in it to teach about a musical. Vocally, the actors are wonderful. Josefina Gabrielle has a beautiful voice and range and is lovely as Laurey. Hugh Jackman, from the first note of 'Oh What A Beautiful Morning' grabs your attention and keeps it. Wow
what a voice, what a stage presence enough said. Shuler Hensley plays Jud Fry with a passion that allows the audience to embrace Jud and yet despise him tough job to do, but Hensley does it well. Visually, this play uses simple designs and staging, which allows the actors to carry the story and they do an excellent job of carrying the story. Perhaps the lack 'Hollywood' style sets or backdrops may take some aback, but it's the music and the actors that you should notice in a musical. For any one who loves a good musical, it is a wonderful presentation.
Yes, I'll say it-it's a revelation.
rrb8 December 2004
Oklahoma was never my favorite musical. By the time I was aware of it, Oklahoma & all of the Rodgers & Hammerstein canon seemed dated, superseded by the darker, more modern Sondheim musicals.
But Trevor Nunn's re-imagining of this American classic makes it so fresh & vibrant, it could've opened yesterday. What seemed sappy in the 50s film version now seems innocent, charming, believable-thanks to Nunn's keener dramatic vision & an exceptional cast.
Hugh Jackman reinvents the swaggering male musical lead with an irresistible magnetism and ability to infuse a song with emotional realness. When he sings O What a Beautiful Morning, it seems totally spontaneous-a young man singing from the depth of his soul his love of life & everything in it-and we feel this song we've heard for decades is being sung for the first time.
The decision to play Laurey (Josefina Gabrielle) as a shy tomboy in overalls, in contrast to the assertive, gingham-clad lasses we've seen in the past, is a wonderfully right one. The attraction between the lovely, thoughtful young girl and the radiantly confident Curly is palpable, and their different temperaments make the parries & shifts of their courtship utterly believable.
Gabrielle is an impressive triple threat-a trained ballerina who is also a good actress and a fine singer. Nunn no doubt wanted an accomplished all-round performer to play Laurey so that the Act I ballet could be danced by the same performers who act and sing the parts-not, as is usually done, by dancing alter egos. That alone makes this famously integrated show that much more integrated, and dramatically satisfying.
As Aunt Eller, Maureen Lipman is tough, wry, funny, touching, wise -hers is the most captivating performance of Eller one can imagine. She is perfect.
Like Laurey, the portrayal of Jud has been rethought. He is still brutal, but you feel the wretchedness, the yearning for acceptance, behind the brutality. Shuler Hensley realizes this brilliantly.
He is one of only 2 Americans contributing to this quintessentially American musical (though all American accents are impeccable, and it's refreshing that the script's phony country pronunciations have been pared down to an unnoticeable level). The other is the choreographer Susan Strohman, whose work here is joyous, spectacularly inventive, and (as in the case of the Act II opener The Farmer & The Cowman) electrifying. The dancing, & there's lots of it, conveys the galvanic energy of these very physical frontier folk. It's thrilling to watch the cast's highly skilled dancers doing numbers that build and build to an explosive rapture that makes you wish you could only be up there with them.
Strohman, with Nunn and their talented, almost exclusively English team, offer us what must be the finest production of Oklahoma ever staged. How fortunate our cousins across the Atlantic have cast a different light on this national treasure, and revealed new splendors it contains!
But Trevor Nunn's re-imagining of this American classic makes it so fresh & vibrant, it could've opened yesterday. What seemed sappy in the 50s film version now seems innocent, charming, believable-thanks to Nunn's keener dramatic vision & an exceptional cast.
Hugh Jackman reinvents the swaggering male musical lead with an irresistible magnetism and ability to infuse a song with emotional realness. When he sings O What a Beautiful Morning, it seems totally spontaneous-a young man singing from the depth of his soul his love of life & everything in it-and we feel this song we've heard for decades is being sung for the first time.
The decision to play Laurey (Josefina Gabrielle) as a shy tomboy in overalls, in contrast to the assertive, gingham-clad lasses we've seen in the past, is a wonderfully right one. The attraction between the lovely, thoughtful young girl and the radiantly confident Curly is palpable, and their different temperaments make the parries & shifts of their courtship utterly believable.
Gabrielle is an impressive triple threat-a trained ballerina who is also a good actress and a fine singer. Nunn no doubt wanted an accomplished all-round performer to play Laurey so that the Act I ballet could be danced by the same performers who act and sing the parts-not, as is usually done, by dancing alter egos. That alone makes this famously integrated show that much more integrated, and dramatically satisfying.
As Aunt Eller, Maureen Lipman is tough, wry, funny, touching, wise -hers is the most captivating performance of Eller one can imagine. She is perfect.
Like Laurey, the portrayal of Jud has been rethought. He is still brutal, but you feel the wretchedness, the yearning for acceptance, behind the brutality. Shuler Hensley realizes this brilliantly.
He is one of only 2 Americans contributing to this quintessentially American musical (though all American accents are impeccable, and it's refreshing that the script's phony country pronunciations have been pared down to an unnoticeable level). The other is the choreographer Susan Strohman, whose work here is joyous, spectacularly inventive, and (as in the case of the Act II opener The Farmer & The Cowman) electrifying. The dancing, & there's lots of it, conveys the galvanic energy of these very physical frontier folk. It's thrilling to watch the cast's highly skilled dancers doing numbers that build and build to an explosive rapture that makes you wish you could only be up there with them.
Strohman, with Nunn and their talented, almost exclusively English team, offer us what must be the finest production of Oklahoma ever staged. How fortunate our cousins across the Atlantic have cast a different light on this national treasure, and revealed new splendors it contains!
Not as good as the TODD-AO version, but great heart
Mayesgwtw392 April 2023
Many people don't know that the 1955 film of Oklahoma! Was made twice. It was shot once for the cinemascope screen and once for the beautiful Todd AO. Format. The latter format has only come to light in the last 30 years or so , but it is the definitive version of Oklahoma!, so treat yourself to that version, if you can find it.
This version has much to recommend it, but suffers from further stereotypes by foreigners of what the region it depicts was like. Some of the accents are atrocious ( born Oklahoman here.) The region portrayed is in fact lush and not barren. There's a limit to how much belief we can suspend when we're already asked to buy in to an orchestra and people breaking into song. I'm not literal-minded, but wish some of the casting were better (...if Will Parker says "bean" for "been" again...)
R&H were never in Oklahoma, but Lynn Riggs was and the humor is very much in keeping with the spirit of the people. This gets a lot right (Gloria Grahame, Gene Nelson and, especially, Charlotte Greenwood, your line-readings are missed!), but there seems to be the most recompensatory joy in the enthusiasm with which this cast delivers.
Jackman is so very good, over-done accent and all, that he nearly eclipses the ease of McRae, but not quite. I'm not sure what sort of misogyny informs the comments I have seen posted here in relief of Laurey not wearing a dress and rather being "tom-boy." I suppose such scorn may be why people become increasingly uncomfortable in being gender identified. Nevertheless, Josefina Gabrielle does a beautiful job...that also doesn't erase Shirley Jones' perfect performance and pitch.
Schuler Hensley doesn't have the layers of the great Rod Steiger as Jud, but Steiger is an Actor's Studio powerhouse.
Lovely production that gets a lot wrong, but makes up for it with joy and talent.
This version has much to recommend it, but suffers from further stereotypes by foreigners of what the region it depicts was like. Some of the accents are atrocious ( born Oklahoman here.) The region portrayed is in fact lush and not barren. There's a limit to how much belief we can suspend when we're already asked to buy in to an orchestra and people breaking into song. I'm not literal-minded, but wish some of the casting were better (...if Will Parker says "bean" for "been" again...)
R&H were never in Oklahoma, but Lynn Riggs was and the humor is very much in keeping with the spirit of the people. This gets a lot right (Gloria Grahame, Gene Nelson and, especially, Charlotte Greenwood, your line-readings are missed!), but there seems to be the most recompensatory joy in the enthusiasm with which this cast delivers.
Jackman is so very good, over-done accent and all, that he nearly eclipses the ease of McRae, but not quite. I'm not sure what sort of misogyny informs the comments I have seen posted here in relief of Laurey not wearing a dress and rather being "tom-boy." I suppose such scorn may be why people become increasingly uncomfortable in being gender identified. Nevertheless, Josefina Gabrielle does a beautiful job...that also doesn't erase Shirley Jones' perfect performance and pitch.
Schuler Hensley doesn't have the layers of the great Rod Steiger as Jud, but Steiger is an Actor's Studio powerhouse.
Lovely production that gets a lot wrong, but makes up for it with joy and talent.
I never thought that I'd be saying this, but I quite enjoyed this adaption of OKLAHOMA!
Tarantula1 July 2001
OKLAHOMA! I was never, ever keen on musicals (unless they contain real grit like The Blues Brothers, Blues Brothers 2000, or Grease), but Hugh Jackman is brilliant, along with the rest of the cast! Great Viewing for Rodgers and Hammerstein' fans, and very enjoyable!
Good for the memories, if not the magic of the stage
spottedreptile23 December 1999
The filming of Trevor Nunn's production of Rodgers and Hammerstein's Oklahoma! took place during the move from the Royal National Theatre to the Lyceum Theatre in January 1999. The action was shot at the Shepperton Studios and directors Trevor Nunn and Chris Hunt have tried their hardest to give the tv film the feel of the live performance that so enchanted London audiences during the show's first run at RNT, while also using close-ups to provide extra emotional insights on characters.
Unfortunately it proves a near-impossible task. While lighting, sound and vision are technically first-rate, considering the time limits imposed upon the crews (18 days of shooting time!), overall the film never delivers the excitement and raw energy of the stage production, and to be honest, it should never have tried to. It feels artificial and looks second-best. The audience reaction shots are intrusive and irritating instead of convincing, and who allowed them to turn up in t-shirts and jeans? It's obvious they' re only there for the filming, and the camera should have left them in the dark and concentrated on the action onstage.
The problem lies in the fact that the tv audience is watching a screen, not a stage. It's ambitious to try and capture a stage atmosphere without hampering the natural movement of camera and lens inherent in film, and the production ends up trying to please two different masters. The concept is at fault, rather than the performances. Everybody tries hard, the principals look and sound great, and the musical numbers are infectious enough to overcome some of the flatness produced by pre-recorded songs and the fact that this is not a live event. Josefina Gabrielle shines as a very human Laurie, with charm and innocence that doesn't cloy. Hugh Jackman's Curly is best during his serious moments, if a tad too folksy at other times, but he does prove that sex appeal, musical talent and masculinity are not mutually exclusive. Maureen Lipman is the best of the lot as a very dry and funny Aunt Ella, well supported by Jimmy Johnston as Will and Shuler Hensley as the dangerous Judd.
In summary, this is an adaptation that does not measure up to the magic of the original stage production, but is still worth it for the memories.
Unfortunately it proves a near-impossible task. While lighting, sound and vision are technically first-rate, considering the time limits imposed upon the crews (18 days of shooting time!), overall the film never delivers the excitement and raw energy of the stage production, and to be honest, it should never have tried to. It feels artificial and looks second-best. The audience reaction shots are intrusive and irritating instead of convincing, and who allowed them to turn up in t-shirts and jeans? It's obvious they' re only there for the filming, and the camera should have left them in the dark and concentrated on the action onstage.
The problem lies in the fact that the tv audience is watching a screen, not a stage. It's ambitious to try and capture a stage atmosphere without hampering the natural movement of camera and lens inherent in film, and the production ends up trying to please two different masters. The concept is at fault, rather than the performances. Everybody tries hard, the principals look and sound great, and the musical numbers are infectious enough to overcome some of the flatness produced by pre-recorded songs and the fact that this is not a live event. Josefina Gabrielle shines as a very human Laurie, with charm and innocence that doesn't cloy. Hugh Jackman's Curly is best during his serious moments, if a tad too folksy at other times, but he does prove that sex appeal, musical talent and masculinity are not mutually exclusive. Maureen Lipman is the best of the lot as a very dry and funny Aunt Ella, well supported by Jimmy Johnston as Will and Shuler Hensley as the dangerous Judd.
In summary, this is an adaptation that does not measure up to the magic of the original stage production, but is still worth it for the memories.
Oklahoma! OK With Me!
Marybee22315 June 2001
Despite this being a made for TV film of Trevor Nunn's Royal National Theatre staged play, I love the film and I'm a hard to please huge fan of the original cinemascope Oklahoma! over which Rodgers and Hammerstein personally oversaw every detail. This Oklahoma! shines regardless of the limitations of being filmed on a stage. Trevor Nunn's Oklahoma! was such a huge hit and deserved to be memorialized by this film. As the intact original cast of this play is not going to Broadway with the show starting February 23, 2002 at the Gershwin Theater, I am happy that I have the movie with the original cast from the London show. The dvd is a special treat as there are many interviews with Nunn, Rodgers' daughter, and various actors. I enjoyed watching the interview with Nunn in which he explains his understanding of Oklahoma!. I also enjoyed watching Hugh Jackman explain how Nunn told him to speak the lyrics to Curly's songs during rehearsals for several weeks before singing them so that the songs could develop the inflection of dialogue. I think that all the actors in this movie gave new interpretations to the Oklahoma! characters. Certainly Maureen Lipman's Aunt Eller shines as does Hugh Jackman's incomparable Curly.
Loved the stage show, not so keen on film adaptation, but still enjoyed it.
thel2k5 December 1999
This is a made-for-TV/video film adaptation of the deservedly highly praised UK National Theatre production. The stage show was outstanding not only for the talent of the entire cast - the stars were Hugh Jackman (Curly), Josefina Gabrielle(Laurie), and Maureen Lipman(Aunt Eller)- but for the inventive scenery and staging which conjured up the wide open spaces of the American West in a theatre setting. While this filmed version allows those of us who saw the show from the circle/gallery seats to get a closer view of the actors faces and see nuances of expression etc. that we missed before, it is a pity that the film makers have tried to give the impression that this is still an actual "stage" show by inserting overlong, jarring and frankly amateurish shots of an audience applauding. They could have kept some of the original magical production values by shooting more of the stage and clever scenery - given that this is how the show was designed to be seen - and fewer big close-ups of the actors and smart camera angles. Filming a musical is an art form in itself (see the MGM/Arthur Freed productions), and few directors now have studied that expertise. But still, with all that said- nothing can take away from the wonderful performances of Hugh Jackman (he must be the best Curly since Howard Keel) Maureen Lipman, Shuler Hensley (as a really scary and psychotic Judd Fry) and Jimmy Johnson as Will. Wonderful music and singing, slick dance numbers, and at least indoors with a video you can sing along.
Not good!
deerwalkby25 December 2021
I was disappointed in Hugh Jackman's performance. He doesn't sing well, with a mediocre voice and strange stylings of the songs. He overacts, trying to draw all of the attention to himself, and sometimes gesticulates wildly. His attempts at a American country accent are kind of sad. He tries to draw the audience in with lots of big grins, but that doesn't change all of the other problems. The great musical score is what saves this production.
fantastic!!
the_musical_gal1 January 2004
I have never seen the old version of "Oklahoma" but I know a pretty good bit about it. I saw "Oklahoma" put on by a church in my town when I was about six, but I don't remember much about it.
I really enjoyed this version, the British know how to do musicals! I loved how they made Laurey a tomboy in the beginning to show us how strong and willful she is. Josefina Gabrielle is like a younger, brunette Shirley Jones. She has a beautiful singing voice, she is a beautiful dancer, and a great actress. Did I mention that she's beautiful? I really liked how the actors did their own dancing in the Dream sequence.
I thought Hugh Jackman was amazing. To think that this is the guy who plays Wolverine!!!! This man is is an amazing actor. He's good-looking (very), he can sing, he can dance, and he can really act. He does a very good southern accent. He's also a very believable romantic hero.
Jud was great. That voice...oh my gosh! Such a rich voice, it's like "Lonely Room" was written for him. And Aunt Eller....oh I looove Aunt Eller. She steals the show. She's perfect.
I have nothing bad to say about this show. It's well-done. I just wish Hollywood and Broadway could do more things like this. I got the DVD for Christmas, by the way.
I really enjoyed this version, the British know how to do musicals! I loved how they made Laurey a tomboy in the beginning to show us how strong and willful she is. Josefina Gabrielle is like a younger, brunette Shirley Jones. She has a beautiful singing voice, she is a beautiful dancer, and a great actress. Did I mention that she's beautiful? I really liked how the actors did their own dancing in the Dream sequence.
I thought Hugh Jackman was amazing. To think that this is the guy who plays Wolverine!!!! This man is is an amazing actor. He's good-looking (very), he can sing, he can dance, and he can really act. He does a very good southern accent. He's also a very believable romantic hero.
Jud was great. That voice...oh my gosh! Such a rich voice, it's like "Lonely Room" was written for him. And Aunt Eller....oh I looove Aunt Eller. She steals the show. She's perfect.
I have nothing bad to say about this show. It's well-done. I just wish Hollywood and Broadway could do more things like this. I got the DVD for Christmas, by the way.
A wonderful adaption of the classical musical.
kobyg20 September 2002
I once acted in a production of OKlahoma. I loved seeing Hugh Jackman in the main role of curly. God bless Australia. This is a must for all lovers of the musical. I would buy this if I could find it on video. It is amazingly coreographed. The fight scene is especially glorious.
There are reasons why some hit shows become classics while others remain an artifact of their decade.
mark.waltz24 March 2017
Warning: Spoilers
Forget Wolverine and Van Helsing when you go into the magical world of Hugh Jackman's participation in musical theater. He rocked Broadway as Peter Allen (Liza Minnelli's first gay husband) in "The Boy From Oz" and was standing room only in a musical revue. Nobody could replace him as Peter Allen, so the show only ran a year to sold out crowds (and he never missed a performance!) and got him a well deserved Tony Award. For those who missed that show that never made it onto the small screens or made into a movie, there's the PBS version of "Oklahoma!" which he did in London prior to taking on his more iconic roles. While Patrick Wilson would take over the role in the Broadway transfer, much of that cast who was on stage at the Gershwin Theater in 2002 is here, a nice visit to a show I had the privilege of seeing and got to re-visit thanks to the availability of this version.
Certainly, it's going to be a bit jarring to hear the Australian born Jackman singing as American cowboy Curly, but he makes it work simply on his charm and his ability to sing and dance as gracefully as Astaire and Kelly, be funny, yet never make you doubt that he's as masculine (not macho) as they come. His confidence as a performer is unmatchable, although I didn't feel his chemistry with Josefina Gabrielle (Laurey) was as strong as it could have been. She's a great singer, and certainly pretty, but I think is the one weak link in an otherwise strong production. Maureen Lipman's Aunt Eller is strong, funny, loving, commanding and everybody's first stop when they need advice. While I saw Andrea Martin take on this role (and absolute perfection), it's Lipman's who will remain in viewer's minds because of her presence on the video and in TV productions.
A Tony Award went to Shuler Hensley in the usually thankless role of the "villain" Jud Fry who gets to show more dimensions than usual in this production. He's only a villain really at the end, mostly a misunderstood loner who doesn't have social graces and is perhaps too shy to deal with women in a gentle manner. He also knows that he's ugly and unlovable, and that adds a sense of heartbreak into his character, making you think about your own feelings towards people in life who don't fill the mold of what a desirable man or woman should be. Vicki Simon is perfectly fine as Ado Annie, the "girl who cain't say no", with Jimmy Johnston just as memorable as her long suffering fiancée Will, determined to raise the money he needs to give Ado Annie's father in order to get his permission to marry her.
The set is perfect, with the corn really as high as an elephant's eye, and cute model trains representing the visits to Kansas City and back. The choreography is outstanding, the orchestrations truly beautiful, and the ensemble filled with really talented, attractive dancers who do a great justice to Rodgers and Hammerstein's fabulous score. Fortunately, the success of this show got PBS to air the Lincoln Center production of "South Pacific" and a concert version of "Carousel" (my own favorite Rodgers and Hammerstein show), but this being the first Rodgers and Hammerstein show to which I knew the entire score (through an early viewing of this when I was just a kid), "Oklahoma!" holds a special place in my heart: for the movie, for the 2002 Broadway revival, and for the TV Broadcast of this production which shows that this has stood the test of time and has everything great that represents the best of what America is all about.
Certainly, it's going to be a bit jarring to hear the Australian born Jackman singing as American cowboy Curly, but he makes it work simply on his charm and his ability to sing and dance as gracefully as Astaire and Kelly, be funny, yet never make you doubt that he's as masculine (not macho) as they come. His confidence as a performer is unmatchable, although I didn't feel his chemistry with Josefina Gabrielle (Laurey) was as strong as it could have been. She's a great singer, and certainly pretty, but I think is the one weak link in an otherwise strong production. Maureen Lipman's Aunt Eller is strong, funny, loving, commanding and everybody's first stop when they need advice. While I saw Andrea Martin take on this role (and absolute perfection), it's Lipman's who will remain in viewer's minds because of her presence on the video and in TV productions.
A Tony Award went to Shuler Hensley in the usually thankless role of the "villain" Jud Fry who gets to show more dimensions than usual in this production. He's only a villain really at the end, mostly a misunderstood loner who doesn't have social graces and is perhaps too shy to deal with women in a gentle manner. He also knows that he's ugly and unlovable, and that adds a sense of heartbreak into his character, making you think about your own feelings towards people in life who don't fill the mold of what a desirable man or woman should be. Vicki Simon is perfectly fine as Ado Annie, the "girl who cain't say no", with Jimmy Johnston just as memorable as her long suffering fiancée Will, determined to raise the money he needs to give Ado Annie's father in order to get his permission to marry her.
The set is perfect, with the corn really as high as an elephant's eye, and cute model trains representing the visits to Kansas City and back. The choreography is outstanding, the orchestrations truly beautiful, and the ensemble filled with really talented, attractive dancers who do a great justice to Rodgers and Hammerstein's fabulous score. Fortunately, the success of this show got PBS to air the Lincoln Center production of "South Pacific" and a concert version of "Carousel" (my own favorite Rodgers and Hammerstein show), but this being the first Rodgers and Hammerstein show to which I knew the entire score (through an early viewing of this when I was just a kid), "Oklahoma!" holds a special place in my heart: for the movie, for the 2002 Broadway revival, and for the TV Broadcast of this production which shows that this has stood the test of time and has everything great that represents the best of what America is all about.
Better than the "original" movie
robyndaly-12 August 2005
Despite this being a British production of an "Amurrican" show I think it is far better than the original movie. It doesn't have the hokey accents, the singers do their own dancing (and very well too!), and the character interpretations are more real. I especially liked Laurie as a tomboy: it makes her reluctant and confused response to courtship more natural than the spoiled petulance shown in the Hollywood version. Aunt Eller is a person instead of a stereotype - you can tell this woman has had a life. Jud is more rounded, the pain and social confusion underlying his brutality shown clearly. And Hugh Jackman gives Curly a sunniness that is much more charming than the knowing and somewhat manipulative characterization produced by Hollywood. A must-see! What I wouldn't give to see this team make Carousel!
I will say that I am in love with this production of Oklahoma!
TheLittleSongbird3 May 2013
Warning: Spoilers
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
Not bad, but..
bubsy-330 November 2003
Back in 1980 or so, I saw the revival of Oklahoma with Christine Ebersole and Christine Andreas at the Forest Theater in Philadelphia before the production came to NYC. It was the first time I saw Oklahoma, but when I saw it, everything seemed to mesh together well. I can't say the same for the PBS broadcast. As I was watching it, I got the feeling that those responsible for the production couldn't decide it if it was an operetta or a musical and it seemes to transition, rather abruptly, between the two. Hugh Jackman is an excellent singer with a strong voice, but he seems to approach the role as if it were an operetta. For me, he never seemed to get into the character of Curley, seeming too "urban".Maureen Lipman seems excellent as Aunt Eller, and Shuler Hensley, who was exceptional in Les Miserables when I saw him, gives a mesmerizing performance. Yet, the "opera-like" sets seem to detract from the production. Luckily the music and lyrics carry the show along (except after the final "Oklahoma" number when the show seems to lose focus. Overall, a dissapointing 7.
A Worthy Oklahoma
dgz786 January 2012
From the first time as a kid I saw a summer stock production of Oklahoma I've been captivated by the inaugural Rodgers and Hammerstein musical. From the 1955 movie to high school productions to professional road shows I can't get enough of this musical.
I was born after the Theatre Guild Broadway production but I suspect this version of the Oklahoma territory is a little rougher than what was depicted in 1943 and definitely rougher than the 1955 movie. Josefina Gabrielle in her denim overalls looks tough enough to kick Shirley Jones or Gordon MacRae into the next county if they cross her. And you don't get any of the lush Arizona foliage we remember from the 1955 movie.
Fortunately Trevor Nunn did not try to update the production and make it his own. I keep thinking of the 2005 Brian Large production of La traviata with the giant clock on a sterile stage and the actors doing their best to imitate robots. When two great singers like Netrebko and Villazon can't distract you from the staging I think the director has failed.
Being a Royal National Theatre production the British tinge is felt in the performers. Jackman is good but Gabrielle and especially Shuler Hensley as Jud are outstanding. Easily the best improvements from the 1955 movie are Jimmy Johnston and Vicki Simon as Will and Ado Annie respectively.
My only complaint with the DVD is the sound of the barn raising number seemed muffled. Maureen Lipman and Sidney Livingstone sounded like the soundman didn't like them. And I could have done away with the shots of the crowd. The performances were plenty good enough for us to know when to clap.
I doubt anyone sang and danced like this in the Oklahoma Territory but darn it they should have. Thank you Trevor Nunn for respecting this American original and making this a worthy production.
I was born after the Theatre Guild Broadway production but I suspect this version of the Oklahoma territory is a little rougher than what was depicted in 1943 and definitely rougher than the 1955 movie. Josefina Gabrielle in her denim overalls looks tough enough to kick Shirley Jones or Gordon MacRae into the next county if they cross her. And you don't get any of the lush Arizona foliage we remember from the 1955 movie.
Fortunately Trevor Nunn did not try to update the production and make it his own. I keep thinking of the 2005 Brian Large production of La traviata with the giant clock on a sterile stage and the actors doing their best to imitate robots. When two great singers like Netrebko and Villazon can't distract you from the staging I think the director has failed.
Being a Royal National Theatre production the British tinge is felt in the performers. Jackman is good but Gabrielle and especially Shuler Hensley as Jud are outstanding. Easily the best improvements from the 1955 movie are Jimmy Johnston and Vicki Simon as Will and Ado Annie respectively.
My only complaint with the DVD is the sound of the barn raising number seemed muffled. Maureen Lipman and Sidney Livingstone sounded like the soundman didn't like them. And I could have done away with the shots of the crowd. The performances were plenty good enough for us to know when to clap.
I doubt anyone sang and danced like this in the Oklahoma Territory but darn it they should have. Thank you Trevor Nunn for respecting this American original and making this a worthy production.
Better than the movie version
Prismark1024 April 2019
I ended up enjoying the musical stage adaptation more than I did with the movie.
Set in a small prairie town. Curly (Hugh Jackman) sings 'Oh What A Beautiful Morning' as he flirts and teases with the young slightly tomboyish Laurey Williams (Josefina Gabrielle.) They seem to be made for each other.
However hired hand Jud Fry (Shuler Hensley) also desires Laurey but she rebuffs his advances. Jud is driven to insane rage with the rejection.
Meanwhile Ado Annie (Vikki Simon) likes to flirt with the young men but her father is trying to marry her off to a Persian peddler Hakim (Peter Polycarpou.) He meanwhile hopes cowboy Will Parker (Jimmy Johnston) will have her.
This is a filmed staged version in front of a live audience. It is longer than the 1955 film version. Jackman shows he really can sing, Jud is more layered here, frustrated with his loneliness.
I did like the comedy subplot between Hakim, Ado Annie and Will Parker. The Hakim here looks less like a caricature.
Set in a small prairie town. Curly (Hugh Jackman) sings 'Oh What A Beautiful Morning' as he flirts and teases with the young slightly tomboyish Laurey Williams (Josefina Gabrielle.) They seem to be made for each other.
However hired hand Jud Fry (Shuler Hensley) also desires Laurey but she rebuffs his advances. Jud is driven to insane rage with the rejection.
Meanwhile Ado Annie (Vikki Simon) likes to flirt with the young men but her father is trying to marry her off to a Persian peddler Hakim (Peter Polycarpou.) He meanwhile hopes cowboy Will Parker (Jimmy Johnston) will have her.
This is a filmed staged version in front of a live audience. It is longer than the 1955 film version. Jackman shows he really can sing, Jud is more layered here, frustrated with his loneliness.
I did like the comedy subplot between Hakim, Ado Annie and Will Parker. The Hakim here looks less like a caricature.
One of the best movies
btaaluv13 November 2005
I really enjoyed this movie,in fact I loved it. At first I wasn't to sure I would like this movie because I hadn't known it was a musical when I had pick it out. If I had to con-pair to a movie which of course would have to be another music movie. I would say it's pretty daron good compared to Sing In The Rain and with Gene Kelly. Wow.....Hugh Jackman can really sing and act....and all that. The story keep me interested and I want to see more and what was going to happen next....and if it would have a happy ending. I like movies with a happy endings. It did have a happy ending and it also had drama a romance which are both good for me in a movie. I would watch over and over again.
If this is the sort of thing you like, then you'll like this sort of thing
The Gryphon6 February 2005
I thought I'd ordered the original movie version of Oklahoma! but was nonetheless excited to see that I had the Hugh Jackman filmed stage play instead. Having never seen any version of the play before, it was a treat to see how it was staged. Everyone seems to sing well, dance well and portray the story well enough but for some reason my attention started to flag before the end of the first act. I'm not sure why. Perhaps it was the thick accents, which I know is integral to the play, but grew wearisome anyway. Most of the songs I was familiar with but it was nice to hear some of the lesser known songs as well. I felt a couple of the extended ballet scenes went on a bit too long. Found myself fast-forwarding through the DVD to get past them once the point was made. It's a sweet show, very old-fashioned, a bit long, but well made and for that I give it a mixed review. I can't say I didn't enjoy parts of it, but I also can't say that I enjoyed the overall program.
Brilliant
Pearl2428 August 2004
I have only just found this website and this thread so I would like to post my comments about the National Theatre's production of Oklahoma.
I was lucky enough to go to the show at the NT and was absolutely entranced by it all. As most people have said Hugh Jackman was a revelation. I saw the show before he became famous as Wolverine so had no preconceptions about him. I am so glad that he has done so well.
Maureen Lipman was terrific as Aunt Eller. When the video was shot I understand she was suffering from an abcess on her tooth but you would have never known.
Must watch the video again.
I was lucky enough to go to the show at the NT and was absolutely entranced by it all. As most people have said Hugh Jackman was a revelation. I saw the show before he became famous as Wolverine so had no preconceptions about him. I am so glad that he has done so well.
Maureen Lipman was terrific as Aunt Eller. When the video was shot I understand she was suffering from an abcess on her tooth but you would have never known.
Must watch the video again.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
