OKLAHOMA! Previews — Page 9
#202
Posted: 3/30/19 at 11:47pm
LxGstv said: "Saw the show tonight again and it appears they are still making changes, there was one that made a big difference in the dance sequence.
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So the part where the boots fall down, tonight they came down one by one and eventually 4 or 5 came down together. Last Saturday matinee they all came down at once, which I much preferred, it was so jarring and unexpected, almost like a gun shot, there were gasps in the audience. The way it happened tonight almost felt like a toned down version, didn’t have the same effect at all.
"
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At the Wednesday matinee, they also fell down one by one, then several at a time. The older way definitely sounds more jarring.
#203
Posted: 3/31/19 at 12:38am
ljay889 said: "LxGstv said: "Saw the show tonight again and it appears they are still making changes, there was one that made a big difference in the dance sequence.
Click Here To Toggle Spoiler Content
So the part where the boots fall down, tonight they came down one by one and eventually 4 or 5 came down together. Last Saturday matinee they all came down at once, which I much preferred, it was so jarring and unexpected, almost like a gun shot, there were gasps in the audience. The way it happened tonight almost felt like a toned down version, didn’t have the same effect at all.
"
Click Here To Toggle Spoiler Content
At the Wednesday matinee, they also fell down one by one, then several at a time. The older way definitely sounds more jarring.
"
Of the variations I’ve seen, all of them dropping at once has the most impact
#204
Posted: 3/31/19 at 9:16pm
Saw the show tonight, (bummed we didn't get chili as we were at the bathrooms at intermission) but we really liked the show. We didn't love all of it, but came out very happy.
The Dream Ballet did not connect with us--especially the butt schooching on the floor which reminded me of my dog and his anal glands and we didn't get the boots dropping. If someone knows the director's intent for the ballet I would love to read it. We could see some things like the horse riding but much of us was lost on us.
We loved the bare bone staging--Curly, Ado Annie and Will were wonderful--Judd's voice was amazing. The Blair Witch Project type filming during the blackouts and dream sequence were interesting choices.
There were at least eight empty seats across from us after intermission. I suspect they would have been glad to miss the Dream sequence.
#205
Posted: 3/31/19 at 9:18pm
Wow.
Saw the performance today and still trying to collect myself. I absolutely loved this production from top to bottom. I imagine it helps that I don’t have that much of a relationship with the material. I’ve been a fan but never loved it the way I love some other R&H shows. Fish and his team have done wonders without changing the text.
I can see why this has been so disive. I loved how Rebecca Naomi Jones sang the score - from belting all of “Many a New Day” to the soft falsetto of the “People Will Say” reprise, but it’s jarring for anyone married to the standard interpretations. I thought her performance set-up the dream ballet perfectly. To be completely honest, some of what was presented in the ballet was lost on me, but what I got was a stirring examination of Laurey and her sexuality. It works completely with the point of view the production has on Jud, and their version of Laurey/Jud relationship.
Ali Stroker owns every second she is onstage - I fully expect her to be nominated. Mary Testa too. The way she is directed to play the final scene was terrifying (in the best way).
Patrick Vaill’s Jud is endlessly fascinating. I never expected to cry during “Pore Jud”, but I did.
I hope to see this again before it closes. It’s not for everyone but it’s one of the best productions I’ve seen in years. This proves why we need more flexible spaces on Broadway. I couldn’t believe this was the same theatre where I saw ONCE ON THIS ISLAND a year ago.
Saw the performance today and still trying to collect myself. I absolutely loved this production from top to bottom. I imagine it helps that I don’t have that much of a relationship with the material. I’ve been a fan but never loved it the way I love some other R&H shows. Fish and his team have done wonders without changing the text.
I can see why this has been so disive. I loved how Rebecca Naomi Jones sang the score - from belting all of “Many a New Day” to the soft falsetto of the “People Will Say” reprise, but it’s jarring for anyone married to the standard interpretations. I thought her performance set-up the dream ballet perfectly. To be completely honest, some of what was presented in the ballet was lost on me, but what I got was a stirring examination of Laurey and her sexuality. It works completely with the point of view the production has on Jud, and their version of Laurey/Jud relationship.
Ali Stroker owns every second she is onstage - I fully expect her to be nominated. Mary Testa too. The way she is directed to play the final scene was terrifying (in the best way).
Patrick Vaill’s Jud is endlessly fascinating. I never expected to cry during “Pore Jud”, but I did.
I hope to see this again before it closes. It’s not for everyone but it’s one of the best productions I’ve seen in years. This proves why we need more flexible spaces on Broadway. I couldn’t believe this was the same theatre where I saw ONCE ON THIS ISLAND a year ago.
"Oh look at the time, three more intelligent plays just closed and THE ADDAMS FAMILY made another million dollars" -Jackie Hoffman, Broadway.com Audience Awards
#206
Posted: 4/1/19 at 12:12am
Saw the show last night and thought it was incredible. Second only to Hadestown in the 5 shows I’ve seen in the last week and it was very close.
I loved all the changes/staging aside from the dream ballet which didn’t work for me in the moment but seems better as I think about it more. The ending especially was such an intense departure but one that worked beautifully and made such a statement. And the way they did the smokehouse scene...wow.
The two leads and Ado Annie were particularly excellent but I thought the entire cast gave great performances.
I’d love to see this again before it finishes its run, I sat on the curve and would love to see it on the sides as well.
I loved all the changes/staging aside from the dream ballet which didn’t work for me in the moment but seems better as I think about it more. The ending especially was such an intense departure but one that worked beautifully and made such a statement. And the way they did the smokehouse scene...wow.
The two leads and Ado Annie were particularly excellent but I thought the entire cast gave great performances.
I’d love to see this again before it finishes its run, I sat on the curve and would love to see it on the sides as well.
#207
Posted: 4/1/19 at 4:22pm
This is such a smart and focused production of this piece. I absolutely think it is brilliant. I was genuinely looking forward to the dream ballet being on par with the excellence of the rest , but The dream ballet was a missed opportunity. She is a wonderful and soulful dancer. It just existed without any purpose for me. I think I will definitely see it again after it officially opens and watch the ballet with an open mind. No doubt. This production deserves all the praise it is getting. I can’t stop thinking about it. Amazing
#208
Posted: 4/1/19 at 4:36pm
I need a cast album of this production ASAP.
I was listening to the Hugh Jackman recording today and I got chills just thinking of how this production treats the title song.
"Oh look at the time, three more intelligent plays just closed and THE ADDAMS FAMILY made another million dollars" -Jackie Hoffman, Broadway.com Audience Awards
#209
Posted: 4/1/19 at 8:57pm
I'm picking up on a suggestion here that this production has a daring point of view on Laurey and Judd's sexual connection.
That delights me.
Because every production I've ever seen has left me wondering what the hell the major conflict is in this show. Is it really that Laurey is torn between feelings for Judd and Curly? Because that has never seemed convincing. Judd has always seemed an utterly unattractive a character - never a sexy bad boy. And nothing about Laurey has ever seemed convincingly drawn to or in any way sympathetic to his disaffection, to his being an outsider. Could it be this production has finally dug into this problem and found some heat there at last?
Updated On: 4/1/19 at 08:57 PM
#210
Posted: 4/1/19 at 10:13pm
henrikegerman said: "I'm picking up on a suggestion here that thisproduction has a daringpoint of viewon Laurey and Judd's sexual connection.
That delights me.
Because every production I've ever seen has left me wondering what the hell the major conflict is in this show. Is it really that Laurey is torn between feelings for Judd and Curly? Because that has never seemed convincing. Judd has always seemed anutterly unattractive a character - never a sexy bad boy. And nothing about Laurey has ever seemed convincingly drawn to or in any way sympathetic to his disaffection, to his being an outsider.Could it be this production has finally dug into this problem and found some heat there at last?"
You would be correct.
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At least how I saw it - it's clear that Laurey knows Curly is the right choice for her life overall, but there is a raw sexual attraction to Jud. They share some glances during the opening based on where they're seated onstage. The ballet ends with the dancer pulling herself on the floor towards where Jud has just exited with this raw sexual passion. Then later when Jud speaks with Laurey after the auction, the scene is presented in complete darkness and into a microphone. Even without seeing them, the sexual tension is high.
It's always clear which way Laurey will go, but for the first time it appears to be an actual internal struggle. The character, and the story as a whole is better for it IMO.
"Oh look at the time, three more intelligent plays just closed and THE ADDAMS FAMILY made another million dollars" -Jackie Hoffman, Broadway.com Audience Awards
Updated On: 4/1/19 at 10:13 PM
#211
Posted: 4/1/19 at 10:35pm
henrikegerman said: "Because every production I've ever seen has left me wondering what the hell the major conflict is in this show. Is it really that Laurey is torn between feelings for Judd and Curly? "
I have literally never seen a single production of Oklahoma in my life, and speak only from the summaries of the plot that I have read here and online, but it never made any sense to me that this Laurey character is played as a sweet Oklahoman teenage virgin who is....torn between a nice good ole boy and a disturbed weirdo? Setting this production aside, that plotline just doesn't ring true- what is the conflict? What is the choice? Is it so radical to have Laurie and Jud be drawn to each other in an attempt to answer that question?
#212
Posted: 4/2/19 at 7:32am
There’s a really great feature in the most recent issue of New York Magazine by Frank Rich all about Oklahoma (the state and the show) filtered through the lens of this revival - including a side interview with Ted Chapin about how he decides which revivals get the green light.
https://www.vulture.com/2019/04/frank-rich-oklahoma.html
#213
Posted: 4/2/19 at 8:08am
The revival also plays up Laurey’s ambivilance toward Curly. Yes, she is attracted to him, but also it truly seems like the choice is made for her, and she wants the ability to choose for herself. And she knows what her life will be if she marries him, and all the doors that will close to her.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
Updated On: 4/2/19 at 08:08 AM
#214
Posted: 4/2/19 at 9:38am
ColorTheHours048 said: "There’s a really great feature in the most recent issue of New York Magazine by Frank Rich all about Oklahoma (the state and the show) filtered through the lens of this revival - including a side interview with Ted Chapin about how he decides which revivals get the green light.
https://www.vulture.com/2019/04/frank-rich-oklahoma.html"
Great article! I came here to post it myself. I appreciate how Rich not only delves into the history of the musical, but also it’s source material, Riggs’s biography and the state of OK itself. I’ve had trouble articulating why this production felt so “American” and Rich illuminates it perfectly.
#215
Posted: 4/2/19 at 10:37am
There’s a really great feature in the most recent issue of New York Magazine by Frank Rich all about Oklahoma (the state and the show) filtered through the lens of this revival - including a side interview with Ted Chapin about how he decides which revivals get the green light.
https://www.vulture.com/2019/04/frank-rich-oklahoma.html
---
Thank you so much for posting this article!
I saw Oklahoma! on Saturday evening and am still thinking about the production and how it made me feel and I love that. I was so fascinated by the choices made and quite frankly wish I could go back once it opens to revisit those feelings. There is so much to unpack in this production and reading this article brought even more to how I think about what I saw.
#216
Posted: 4/2/19 at 12:35pm
Quick question: during the blackout scene between Jud and Laurey, do we hear him zipping up his fly before the lights come up? Is the suggestion that Laurey had masturbated him? Or has this whole dark show, with its already masturbatory dream ballet, led me astray?
#217
Posted: 4/2/19 at 1:06pm
In the blackout he undoes his belt and zipper. Laurey freaks. Lights come on and u see him doing up his pants and buckling his belt. I dont think anything happened as she freaks out immediately.
#218
Posted: 4/2/19 at 3:29pm
Won the Lottery tonight at 8pm. It does work! Excited!
#219
Posted: 4/2/19 at 8:05pm
Oklahomo performs tonight Tuesday on The Tonight Show ~ Jimmy Fallon!
https://www.nbc.com/the-tonight-show/guests/a-performance-by-oklahoma-/36dc43aac9891c7abeb77d3a2874670bae68830a
"Anything you do, let it it come from you--then it will be new."
Sunday in the Park with George
Updated On: 4/2/19 at 08:05 PM
#220
Posted: 4/2/19 at 9:29pm
"Anything you do, let it it come from you--then it will be new."
Sunday in the Park with George
#221
Posted: 4/3/19 at 12:22am
Wow. My two favorite musicals in town are Fiddler and now Oklahoma.
Saw Oklahoma tonight, courtesy of the Lottery.
Both shows written a million years ago and still reaching across those footlights to grab its audience. Both very different than the way these shows are usually done, which I kinda think is OK. Right now.
#222
Posted: 4/3/19 at 7:06am
Ali performing I Caint Say No on Fallon:
https://youtu.be/DTnnLaIvtk8
https://youtu.be/DTnnLaIvtk8
#223
Posted: 4/3/19 at 7:06am
Ali performing I Caint Say No on Fallon:
https://youtu.be/DTnnLaIvtk8
https://youtu.be/DTnnLaIvtk8
#224
Posted: 4/3/19 at 3:31pm
OMG I could not agree more!! I feel so much better with your words! Finally I’m not the only to find this was a joke.
Cant deny the extremely talented cast but hated this whole new concept.
Cant deny the extremely talented cast but hated this whole new concept.
#225
Posted: 4/3/19 at 4:16pm
^You know we have no idea to whom you are responding, yes? (And I'd like to know!)
2. I was blown away by that performance - this puts Oklahoma at the top of my "next trip" list.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
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