Daniel Fish-Directed OKLAHOMA! Lassos its Way to St. Ann's Warehouse — Page 4

Bwayfan292 said: "yikes... Was Ali stroker at least good?"

Stroker is good. She gives Ado Annie lots of life and especially livens up the show with "I Cain't Say No." But the direction and concept she's working under is so beyond horribly misguided.

any merch?

LightsOut90 said: "any merch?"

I didn't see any, I don't think there is anything yet.

they did sell Windowcards during Streetcar, and considering its a musical with outside producers attached, you never know.

So I sat in one of the partial view seats and I thought the view was fine and not really that 'partial' given how the support column was more in the extreme side of my view. I sat in row E102 in the upper section. I'd say if you were sitting in E109/108/107 that the support column would definitely block your view more. I liked my seat because in front of me were the stairs so I had amazing legroom! Seat E101 (upper section) and seat E201 (lower section) are reserved seats for ushers.

The band was by my section (seats 101-109) and if I were to see this show again, I'd say the best seats are table seating in the lower section seats A215-A222. There were a few scenes where the characters like Ado Annie made direct eye contact with the people sitting there.



I was ok with them not using microphones. Given how it was set in 1906, I'd imagine even back then that's how the average person watched theatre. It gave the show a more authentic feel. For an off-bway show I was quite happy with my experience.

A few people did leave during intermission. The seats are wood so for 3+ hours, I suggest bringing a small pillow. Trust me. The person next to me brought one of those inflatable camping seat pillows and found it much much much more comfortable.

Some more thoughts with spoilers:

Somehow, up till last night, I had avoided seeing any incarnation of Oklahoma before. I am now desperately curious to see what a "normal" staging of Oklahoma looks like because, while obvious this was a very weird production, it seems like the original material is also very weird as well! I could not for the life of me understand the angst about Jud-- it definitely felt resonant to have the character read like a creepy incel radicalized by online forums. Is Laurie supposed to be attracted to him or drawn to him in the original show? It just seems like he's a creep and she feels awkward/fearful about saying no? But I guess that's actually even more resonant in today's era, with the ways women are taught to repress their own desires or will in fear of men's retaliation.

I loved the arrangements, and I swear every time I see Damon Daunno I fall more in love with him. He and Mary Testa made the show for me. I enjoyed Rebecca Naomi Jones's acting performance but vocally, I was a bit underwhelmed. The last time I saw her on stage I remember being blown away by how strong her voice was, but here there was something of a gritty straining quality. But who knows maybe that was on purpose!

But in general I loved it, it was so fun, funny, and delightfully moody. I've never felt so dramatically the impact of lighting choices. I did not understand the dream ballet for a single moment but I still loved it (and I really want one of those shirts). Only downside of my experience was sitting next to a person who kept commenting throughout (ie, in reaction to one thing from the ceiling: "haha, that's a whoopsie! oh wait, that was on purpose" or suggesting that someone in the audience should bid during the auction scene)-- I actually had to shush her, which I hate doing.

@jawjuhh, I agree with just about everything you said, down to sitting next to an awful audience member. This production tears the text to shreds and changes the intention and intent of every line, making comedic lines dramatic, changing who people are talking to... it's a completely different show. The arrangements were revelatory. Damon Daunno makes me swoon. James Davis and Ali Stroker's chemistry was amazing, and they both had the audience rooting for them. Mary Testa pushed her 'Mary Testa' schtick to the max, and it worked so well for the role. Pegging Judd as an incel was scary in today's times, and emphasizes the fact that Laurey is scared of him and not really attracted to him at all. The Judd/Laurey scene in the dark was especially resonant. Especially since I never usually see Judd as having any motivation other than "I'm a villain!", I'm glad I can see him in a new light, no matter how dark it is.

There were lots of beautiful stage pictures. I especially loved when the stadium lights would reflect off of the shimmery streamers onto the actors, giving the stage a dream-like quality. And the haunting Laurey/Judd scene where the only thing you can see is the perimeter string lights... must be very triggering to some people.

I really enjoyed RNJ... but I can't help but think of how Amber Grey would have handled the role if she was still with the production.

I'll admit not every directorial choice worked very well, but I liked that it was messy. Even the Dream Ballet, which I mostly didn't like, seemed to work for some. The Dream Ballet is famous for its ability to tell story through dance. All I got from this one is that Laurie wants to be a horse.

This will never transfer because it will get awful word-of-mouth reviews from Broadway's primary ticket buyers (white people over 55), but I wish it would so more people could experience it.

Has anyone had success with the mobile rush or cancellation line? Thinking of trying for tomorrow.

My friend and I went to see the show on Sunday and we both enjoyed it. We both have never seen an actual production of Oklahoma, so maybe that helped accepting this version since we were watching it with fresh eyes.

That being said we had Partial View Seats, Row E seats 102 and 103, but before the show the usher moved us to Row B center seats on the other side of the stage, which were amazing seats. The usher said for the past few preview performances they have been moving Row E partial view people to better seats since stage management have been sitting in those seats. That being said seats 102 and 103 in row E were not too obstructed, but any more in and that column would have blocked the entire show. Since most things occur on the other side and in the center, so if any one plans to buy a partial view seat I'd say buy farther away from the center, since that pole will block your view if you are too close to the center.

Count me as another who loved this production. I didn't agree with all its ideas, but I gave it a lot of credit for having so many new and unusual ideas. What didn't work for me was the odd dream ballet (no spoilers) and the final confrontation between Jud and Curly that I thought could have been made clearer. The cast standout for me was Ali Stroker, who I fell in love with and gave the best performance of Ado Annie I've ever seen. Rebecca Naomi Jones was a superb Laurie, and Patrick Vaill, who was an unconventional, somewhat low-key Jud Fry was also very effective. And I give major credit to Michael Nathanson who made the scenes with Ali Hakim, which have dragged in other productions I've seen, so enjoyable. The acoustics in the cavernous St. Ann's theater aren't perfect, but the only real problem was when some of the actors were speaking their dialogue very softly. The small band arrangements are wonderful, and I too would love to hear them on a cast album. I'm not sure I would have wanted to sit in the rear in one of the corners, as I think those people missed some of the action. I'll second those who would like to see this moved to Circle in the Square. I thought it was a bracing antidote to this year's mostly innovation-free Carousel revival.

macnyc said: "Another weird aspect is that the programs weren't given out until after the show. Plus, there isn't any mention of the songs."

Well, the front rows probably impacted the program thing, since people were sort of interacting with our tables the whole time.

As for a song list, it shouldn't be too hard to find out what songs are in Oklahoma?