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
