Posted: 4/10/19 at 2:47pm
This revival, from the sounds of it, sounds like the epitome of a revival focusing in directly on their material. While other shows try and expand and give us more, this gives us what we need from the text. God I can't wait to see this!
Posted: 4/10/19 at 2:49pm
JayElle said: "...
I was stunned when Jud was delivering his line to Curly or the peddler in the first half. Between his lines, Jud interjected 'TURN OFF YOUR PHONE." He was looking up toward me and angrily. I learned at intermission that the cel phone belonging to thegirl in front of me started ringing. I didn't hear it b/c I had the headset. I use the headset not b/c I can't hear, but b/c it drowns out all the peripheral noise in the theater. I was amazed at how he meshed it into his lines."
I just want to know what provider they have--I can never receive anything in CItS. I need to go to the lobby to get email during intermission to check on the kid
Oh, I loved Patrick Vail's Jud. Both menacing and sympathetic
and I agree with Lindsay is a goddess. Not necessarily with anything they said, just with their name.
Posted: 4/10/19 at 3:20pm
I wrote saying that it feels like a Quentin Tarantino production, it got bunched up as a negative critique. I guess it depends on your opinion of Tarantino, but my comment wasn’t meant to me negative in any way, I think this production is bloody brilliant!
I used the word experimental, that probably wasn’t the most appropriate word for it. I do think this production is meant to make you uncomfortable at times, but that’s not a bad thing.
One of the main reason I linked this production to Tarantino is because seeing Laurey in her wedding dress covered in blood while performing the title song made it impossible for me not to think of Kill Bill and the bride of that movie.
edit to add the spoiler box.
Updated On: 4/10/19 at 03:20 PM
Posted: 4/10/19 at 3:33pm
Thanks for the reply, Kad. It was very helpful. I enjoy Oklahoma! but it's not one of those scores where I feel like it would be disappointing to hear it sung a different style. I was just getting so concerned after all the word of mouth about how bad it sounded. As long as it's not an issue of the notes being outside of an actor's range or singing breathily because they don't have the vocal power to sing properly, I'm fine with a different interpretation. It was confusing because I think of Mary Testa, Ali Stroker, and Rebecca Naomi Jones as singers with big voices.
Anyway, I'm going to try my best to see this later in the summer after hopefully revisiting Waitress and My Fair Lady. (I know, broken record.)
Posted: 4/10/19 at 4:08pm
Posted: 4/10/19 at 4:21pm
Haha, great analogy, Whizzer. Thanks for clarifying. I'm one of the people who had less than favorable opinion of Lauren Ambrose in My Fair Lady. She always seemed to be struggling like she could only just manage the demands of the vocals. And to a lesser extent, I found Will Chase disappointing in Kiss Me, Kate as a tenor trying to sound more like a baritone. Maybe the fact that they aren't trying to sing Oklahoma! the traditional will actually make it more enjoyable.
Also, let me know if you'd like to talk opera sometime. With this theater season being what it was, I think I spent more nights at the Met than Broadway this season.
Posted: 4/10/19 at 5:48pm
In a segment they did on the show on NY1, Damon Daunno mentioned that he listened to a lot of Hank Williams* to get inspired for the role. They're definitely aiming for a down home country sound rather than traditional musical theatre... so if someone was expecting the latter, yeah it's gonna be terrible, haha. But as a country score, I thought it was perfect. Really, really looking forward to this recording.
(*Blanking now if it was actually Hank Williams... but someone old-school country like that.)
Not sure if it's already been shared in this long thread, but here's 90 seconds of "Surrey With the Fringe on Top" from the St. Ann's marketing, if it helps anyone who's on the fence. Ended up as sort of a hybrid between that kind of Hank Williams sound and more 21st century indie singer-songwriter country, imho, but it says "cowboy" to me more than any other Oklahoma I've heard. https://www.youtube.com/watch?v=-ozS9j8bWh4
Posted: 4/10/19 at 6:48pm
So my mom and her gang of lady friends went to the matinee, and she reported back that she, along with her friends and a lot of the audience hated it. I'm not surprised, I can imagine the Wednesday matinee crowds, with likely an older crowd who probably bought tickets based on the name alone, will have the hardest time receiving the new version.
(I did warn her that even though I loved it, to prepare themselves for something different from what they might be expecting.)
Posted: 4/10/19 at 8:32pm
I was at the matinee this afternoon. Overall I really liked it, although I did not like the dream ballet. Full review here:
https://humbledandoverwhelmed.blogspot.com/2019/04/oklahoma-violence-as-american-as-chili.html
Posted: 4/10/19 at 9:02pm
And just as a matter of reference, I saw the last Broadway revival of Oklahoma!, have seen the film, and have listened to the original Alfred Drake recording, and never really developed much love for the show. Not sure this revival will make me love the show but it does make me think about it.
Posted: 4/10/19 at 11:21pm
poisonivy2 said: "And just as a matter of reference, I saw the last Broadway revival of Oklahoma!, have seen the film, and have listened to the original Alfred Drake recording, and never really developed much love for the show. Not sure this revival will make me love the show but it does make me think about it."
I feel you on this!
I only saw the movie once and really had no desire to see it again. However i have always loved the music. Listened to it a lot over the years but never needed to see a stage production. I felt I should have because it is a classic but just never did.
Got invited to see this production and, honestly, decided to go because of the hype and it was an invite. I was floored. They turned the show inside out and it is brilliant. It is the one show this season that i hope to see again. The new bluegrass arrangements are just stellar and I can't wait for the cast recording.
Posted: 4/11/19 at 12:34am
uncageg said: "poisonivy2 said: "And just as a matter of reference, I saw the last Broadway revival of Oklahoma!, have seen the film, and have listened to the original Alfred Drake recording, and never really developed much love for the show. Not sure this revival will make me love the show but it does make me think about it."
I feel you on this!
I only saw the movie once and really had no desire to see it again. However i have always loved the music. Listened to it a lot over the years but never needed to see a stage production. I felt I should have because it is a classic but just never did.
Got invited to see this production and, honestly, decided to go because of the hype and it was an invite. I was floored. They turned the show inside out and it is brilliant. It is the one show this season that i hope to see again. The new bluegrass arrangements are just stellar and I can't wait for the cast recording.
"
The Broadway revival with Patrick Wilson was actually very good. I love Patrick Wilson. But I don't remember much about anyone else. I too am looking forward to the cast recording. That moment when Damon Daunno takes the mike to sing "People Will Say We;re In Love" gave me goosebumps.
Posted: 4/11/19 at 8:43pm
I also hope that Patrick Vail wins Tony for Best Supporting Actor. He deserves it.
Posted: 4/19/19 at 7:23pm
Miles2Go2 said: "It’s really going to blow your mind then when I tell you that I’ve never seen The Sound of Music. Not even the movie! "
Thought I’d let you know I just finished watching The Sound of Music on my flights thanks to Delta Studio. I liked it more than I expected.
Posted: 4/19/19 at 10:01pm
poisonivy2 said: "That moment when Damon Daunno takes the mike to sing "People Will Say We;re In Love" gave me goosebumps."
Saw this on Thursday and WOW. It’s brilliant. Wish I would’ve gone at St. Ann’s, but grateful the tickets for Broadway weren’t absurdly priced when they went on sale. While Rebecca Naomi Jones didn’t do a lot for me as Lauren, her scenes and chemistry with Damon Daunno were downright steamy. I’ve been skimming through the Tony predictions thread, and I would love to see Daunno pull a win for this. Even in fantastic company (loved Ali Stroker and James Davis), he’s living in that role, and doing some nuanced, gorgeous work. Definitely a huge standout from this season for me.
Updated On: 4/19/19 at 10:01 PM
Posted: 4/20/19 at 1:21am
LxGstv said: "I wrote saying that it feels like a Quentin Tarantino production, it got bunched up as a negative critique. I guess it depends on your opinion of Tarantino, but my comment wasn’t meant to me negative in any way, I think this production is bloody brilliant!
I used the word experimental, that probably wasn’t the most appropriate word for it. I do think this production is meant to make you uncomfortable at times, but that’s not a bad thing.
I added the bolding emphasis. Yes, the blasted show made me uncomfortable and not b/c of the Tarantino goof. I hated the house lights being on for most of the show. It was too visually distracting. I don't want to look at folks in the bleacher seats across the way eating chili, reading playbills, texting, etc.. So the press said it was to look like a barn or school gym. Well, they succeeded. If I want to see a show in a gym, I'd pay $10 to the local school.
Posted: 4/20/19 at 6:31am
Posted: 4/20/19 at 7:47am
Posted: 4/20/19 at 7:49pm
Posted: 4/21/19 at 12:26am
Posted: 4/21/19 at 1:05am
"I saw a woman so deeply at odds about what she needed/wanted to do that it paralyzed her emotionally." I should think it would be painfully obvious by now that people see what they want to see. You see it that way, others see nothing. And around and around it goes...
Posted: 4/21/19 at 10:25am
Posted: 4/21/19 at 6:05pm
Posted: 4/21/19 at 7:35pm
qolbinau said: "This is one of those shows where afterwards I feel I just need to curl up into a ball in a corner and think about what I have seen. "
Absolutely. I haven’t stopped thinking about it since I saw it last week. I wasn’t even particularly excited to see the show (not a huge Oklahoma! fan), just intrigued by the buzz and fact that it was brought from St. Ann’s. It’s such a brilliant piece. This and Gary are the only shows this season, on Broadway or off, that have truly moved me. Go, go, go.
Posted: 4/22/19 at 8:30am
I’m writing this mainly to try and help me remember the experience in the future - I must admit as the years go by the recollection of shows can get a little hazy. Looks like things are not going to get better for Laurey, who has already been set up to have some kind of dark past or conflict. Hopeless.
So I wouldn’t have before today described myself as a big Oklahoma fan - I saw the Hugh Jackman version years ago and I always somewhat dismissed it as early R&H - a little too sentimental sounding and frivolous feeling for my tastes, except that “lonely room” always stood out to be as oddly modern and dark in style compared to the rest of the score (and the only song I really revisit much).
Anyway, the hype around a ‘darker’ anything always interested me so I bought a ticket but of course I always had a little bit of skepticism - how can they make this text and score that ‘dark’? Flash forward to the bright lights of the show (including not dimming the lights of the audience), the cheap but immersive wood panels everywhere, gun fixtures, tables with food, plastic overhead decorations etc. and I was still unconvinced. As the opening number started, I was immediately captured by the new arrangement and performance. “Oh what a beautiful morning” has been transformed into what I used to think was a bit of an overly sentimental/optimistic song into 1. A really good exposition of the time and place with the bluegrass/country/‘bright star’ feel, and 2. Something a little bit more complicated in terms of characterisation. With his boyish smile, movement, guitar playing and vocal inflections it also seemed to be an attention-seeking exercise on Curly’s part to gain the attention of others, especially Laurey. Almost desperately so.
By this stage, I’m also starting to suspect there is something a bit conflicted or tormented in Laurey. While the slow tempo of ‘Surrey’ and the moment of mood lighting (which is made much more effective given the earlier brightness) make it clear there is chemistry between them, Laurey’s brooding and hesitation to me suggests she is more than just playful or being coy but has some kind of complicated backstory that prevents her from getting with Curly (which isn’t explored but I think we can use our imagination that something deeper might be going on). This conflict continues through ‘Many a new day’ where it is clear that actually she can’t just shake these feelings - and I love the comedy/subtext of the girls breaking the large phallic-like corn towards the end of the song.
Also, one very very effective device is to have them all basically on stage, watching each other - you can see right from the beginning the jealousy in Jud’s eyes when he watches Curley and Laurey interact, and the occasional admiration and happiness when he sees Laurey do something funny or sweet.
“I can’t say no” is very fun and lively, although I think the actor might be a little too broad for my tastes especially vocally and think some of those shrieks can probably be toned down a little. However, again there is now an underlying subtext to the song in my opinion given she is in a wheelchair. Is there now a deeper reason she can’t say no? Such as an incredibly fragile self-esteem and a lifetime of rejection that as soon as any guy talks ‘purdy’ she needs to jump on the chance (horrible pun not intended) to seek validation and feel loved? And the whole subplot with Ali seems more sinister. Is there a reason why he doesn’t want to commit to Ado beyond use her for some quick fun?
The flirtation with the underlying subtext of conflict in Laurey continues through “People Will Say We’re in Love”. But the show takes an incredibly, incredibly dark and dramatic turn when the lights are shut off and a jealous/manipulative Curly is convincing Jud to kill himself. I found this whole scene chilling - Curly’s psychopathic unemotional description of how Jud can hang himself and then later the close ups to each of their faces describing what will happen when he does (Jud, whose childish but deeply sad and pathetic eyes go wider as he imagines the scene of admiration Curly describes if he dies, and Curly, who is now full blown psychopath staring right into Jud’s face just inches away with no hesitation). Absolutely chilling. Again the darkness is so effective given how bright the show is earlier, and the sinisterness of the scenes. The gun shots heighten the tension and feel louder and more real than any guns I’ve heard in a theatre before.
By this stage, I feel deeply engrossed in the tension and horror of what Curly is doing - to be honest it made the character seem like Norman Bates to me and I was thinking if exaggerating his psychopathy would essentially ruin the show because in my eyes he can never, ever make up for what he has done.
The perfect segue into ‘Lonely Room’, which has always worked very well for me - but especially now because of the tension in the earlier scene, watching him observe the show events, and a very good characterisation (he isn’t ugly and obscene like previous interpretations, he is somewhat attractive but terribly creepy, pathetic and lonely. Like the kind of boy that might conduct a school shooting). This was such an emotional moment, and those screeching violins are etched in my brain. I really want the recording badly. What was especially creepy about the song is how it ends with him bellowing and starring at Laurey. It feels dangerous.
My memory is now a little hazy because I can’t stop thinking about what I have just seen in the previous scenes, but if I recall there is a very odd atmosphere as Laurey songs acapella “out of my dreams” to close the act. Given the silence of no instruments and everything that has just happened I THINK it created a kind of uneasy mood about what is to come, but as I said I’m a little hazy.
Act II starts with the infamous dream ballet. I was absolutely floored with the arrangement and hope every note makes its way on the recording. However, I must admit overall I didn’t ‘get it’. With the modern dance style, the very modern ‘Dream baby dream’ style shirt and the modern musical arrangement it almost looked like the dream was some kind of premonition to future conflict but I really don’t know. I was moved by the music so it didn’t take me out of the moment, but I couldn’t help but feel it looked a bit like the zombies rolling around in the movie ‘us’ or a parody of post-modernist dance style. What it was effective at doing though is creating a tense mood that continued for most of the second act.
The highlights of Act 2 for me were the creepy scene under the fairy lights where Jud speaks in his creepy pathetic voice that he remembers everything about her and every interaction he ever has had with her. The kiss sound was gross and the rejection set up so well. Given the earlier happenings it was scary and you genuinely felt like you weren’t sure what Jud was going to do, and understood immediately why she wanted to seek protection from Curly. Even though by this stage he has been set up as an abhorrent psychopath, for the sake of her own safety it felt warranted and needed for his character to protect her.
But of course it’s those final moments that have stuck with me most. When Jud walks in at the wedding party given the earlier happenings I knew something tense was about to happen. I was SHOCKED when Curly shot and both he and Laurey were covered in blood. Due to some clever direction the tension is enhanced because Judd is still standing and you aren’t sure who has been hit. Kind of reminds me of the end of season 7 in Dexter (if I recall) where you aren’t sure who has been shot initially. But then of course Jud lies down with blood on him and he has been shot.
Those final line readings were also incredible - Curly is basically a psychopathic murderer who has killed in cold blood but the group is rallying around him, threatening if he isn’t let go. Mary Testa whose character up until this point was rather sweet and motherly goes into full protection style sinisterly saying they aren’t going to let him lock up Curly. Chilling.
When the reprise of the title song happened something seemed off- the characters are looking into the audience as if something is terribly wrong, and then I see Laurey who is breaking down covered with blood. It’s such an odd feeling and subtext to be watching this while they are singing what they are singing.
I am absolutely floored with this production! Incredible. Especially after being rather disappointed in ‘Kiss Me Kate’ yesterday it was nice to be swept away.
If I were to criticise I acknowledge this show, like Once On This Island (which I also loved) is in the school of perhaps being over-directed. And in particular this production does not really trust the material - Jud’s killing, the characterisations and the arrangements (which are far more significant than just re-orchestration) are very significant changes that in my opinion are not likely what the authors intended. I really wonder what Sondheim would have to say about this production - I suspect he’d hate it (though I hope he wouldn’t). I must admit if I deeply cared about the material it might bother me, but I’m not attached. I see the changes to improve in nearly every way. Describing them here the production almost seems absurd - but it felt right in the moment.
Come Tony nominations, I’d love to see:
* Best Revival (with a clear win)
* Best Direction
* Best Actor (Damon)
* Best Actress (Rebecca)
* Best Supporting Actress (Ali)
* Best Supporting Actor (Patrick Vaill)
* Best Lighting
* Best Scenic Design
* Best Orchestrations
* Best Sound Design
With a potential nomination for Mary Testa.
Updated On: 4/22/19 at 08:30 AM
