A Country Classic- Oklahoma! at the Kelsey Theatre
by Lisa Palena
The first of many Rodgers and Hammerstein collaborations, Oklahoma! tells the tale of a high spirited rivalry between farmers and cowboys in the turn of the 20th century. Furthermore, the musical follows the love story of Curly, a charming cowboy, and Laurey, a fierce farm girl who defies traditional conventions of the time period. Even if one isn’t familiar with the storyline, they have most likely heard the classic score. With such well-known songs as “Oh What a Beautiful Morning,” “The Surrey with the Fringe on Top,” and the titular hit “Oklahoma!” this musical has delighted audiences for over 80 years.
From the opening number of the Kelsey Theatre’s production of Oklahoma!, the energy was palpable. With a smaller than typical cast, most likely due to confined spacing, this ensemble was able to give a vibrant performance, shining with every turn upon the stage. This intimate style casting also gave way for smaller characters to have their own brief moments on stage in the scenes between the larger numbers. Every member of the cast delivered an impressive performance which elevated the (rather dated) material of the show. The leads, in particular Joseph David Bryant as Curly and Sarah Blasenheim as Laurey, gave fully realized portrayals of their iconic characters. Their initial tension building to their eventual romance and marriage was well-executed; Bryant’s Curly was charming and charismatic, while Blaseheim’s Laurey exuded a complex layer of independence and vulnerability. Additionally, their vocals were beautiful, particularly when blended in their duet “People Will Say We’re in Love.”
Supporting characters, such as Jessa Casner as Ado Annie Carnes and real-life fiancé Kevin Palardy as Annie’s on-again, off-again fictional fiancé Will Parker, along with J. Ryan Harmer as Jud Fry, also gave noteworthy performances. Casner brought a comedic touch to Ado Annie without falling into any stereotypical tropes, balancing the character’s charming naivety with an infectious energy. She grabbed and kept the audience’s attention from her first entrance. The chemistry between her and Palardy was undeniable and invited the audience to root for Will Parker to win Ado Annie’s heart over Pat Round’s Ali Hakim. Harmer’s Jud Fry contained just the right balance of dark and brooding while maintaining the lonely bachelor underneath. There was a haunting intensity to his presence onstage, allowing for the complexity of his character to shine through. Additional highlights included Suzanne Ardite, who noted in her biography that she was reprising the role of Aunt Eller, Olivia DePasquale, who adeptly portrayed the obnoxious Gertie Cummings to much audience laughter, and Steve Wolfe, as Andrew Carnes.
Rounding out the cast were Alyssa Mills, who played Kate but also danced beautifully as Dream Laurey in the ballet sequence, Chris Boerner (Ike), Rachel Ash (Aggie), Jillian Alexander (Armina), Joseph Perignat (Cord Elam), Travis Weaver (Fred/Mike), Jason Herbert (Jud u/s), Frank Gramlich (Sam), Emmanuel Ebba (Slim/Joe), Laney Kenwood (Sylvie), Alexis Plexico (Vivian), Megan Gramlich (Ado Annie u/s), and Guiseppe D’Argenio, Nicandro D’Argenio, Juliana Penney, and Amanda Zadroga-Cantada.
Visually, the set design by Shawn Simmons beautifully captured the prairie landscape. With Aunt Eller’s house as the primary backdrop, supported by a cornfield (with “corn as high as an elephant’s eye”), and two benches that could be placed anywhere, there was plenty of space for cast to move around, particularly in larger numbers like “Kansas City” and “Many a New Day.” Jud’s smokehouse, which was fully developed stage left, contained an eeriness appropriate to his character. Costumes, not attributed to any one person, were vibrant, immersing the audience in the time period. Lighting, headed by designers Joe Schiwall and TJ Buck, and Sound Design by Madelyn Weitkunat, were equally well-executed by their teams, which included Avery Merz and Ash Werner. The lights and sounds enhanced the emotional beats but did not overwhelm them, a feat in a fairly emotional and nostalgic show.
Music is the cornerstone of this production and Music Director Joe Nappi, along with a live orchestra, did not disappoint. The orchestra deftly covered lush to rousing melodies, bringing the score to life alongside the actors. Choreography by Marissa Miller not only enhanced the songs but played on the emotions of the audience members, as did the fight choreography by Fight Coordinator Dustin Karrat.
Though the story itself is rooted in a different time and place (and could truthfully use an update- a topic for a different time), the production at the Kelsey Theatre skillfully captures the show’s universal themes- the changing nature of love, the importance of ambition, and the strength of a united community. The production is a testament to the talent and dedication of everyone involved. Direction by Susan Galli, assisted by stage managers Jana Graham and Dana Joy Carducci and producer Meg Waldowski, brought the audience an experience that left them tapping their feet, singing along, and basking in the nostalgic appeal of this musical. You have four more chances to see it- Friday, 3/14 and Saturday, 3/15 at 8 PM, and Saturday, 3/15 and Sunday, 3/16 at 2 PM. Get your tickets now at https://www.purplepass.com/organizer/66720
