Dayton937

Things to do in Dayton | Restaurants, Theatre, Music and More

Oklahoma!

‘Oklahoma!’ Review – Dayton Playhouse – Smokehouse Showdown

By Leave a Comment

Rodgers and Hammerstein’s “Oklahoma!,” the landmark 1943 musical concerning love and statehood circa 1906 in Oklahoma territory based on Lynn Riggs’ 1930 play “Green Grow the Lilacs,” thrives on its engaging romance between a stubborn farm girl and her folksy suitor. Even so, there is another relationship, a truly alluring collaboration, key to the appeal of the Dayton Playhouse’s entertaining if off-kilter presentation.

oklahoma

David Hallowren (left) and Jeff Sams in the Dayton Playhouse production of “Oklahoma!” (Photo by Art Fabian)

 

Late in Act 1, an absolute highpoint, cowboy Curly McClain (an immensely charismatic Jeff Sams) arrives at the pornography-adorned smokehouse of surly ranch hand Jud Fry (an impressive David Hallowren). Both men vow to win the heart of Laurey Williams (Amanda Carter), but Curly particularly knows deep within that Laurey only pines for and intends to be with him. Still, Jud has the upper hand for the time being since Laurey promised to go with him to a box social despite Curly’s bewildered disdain. Under director Brian Sharp’s delicate guidance, the fascinating tug-of-war transpiring here over casual conversation and a few shots of gunfire wonderfully conveys the determination and jealousy fueling Curly and Jud’s inherent friction. In fact, Sams, carefree yet astute, hits all the right marks in an appropriately impromptu fashion while building the morbid gem “Pore Jud is Daid,” a humorously somber portrait of Jud’s demise. Having winningly interpreted Curly’s knack for fantasy in “The Surrey With the Fringe on Top,” Sams conjures another imaginary premise with colorful nuances freshly heightening the tune, particularly as Hallowren ensures the clueless Jud falls for the silly scenario perhaps due to nothing more than momentary masculine companionship. When Curly leaves the smokehouse, after intimidating Jud to the core with his confident swagger, Jud’s pain as an unloved, detached outcast is powerfully examined by Hallowren in his dynamic rendition of the haunting, underrated “Lonely Room” filled with ample heartache, vengeance and frightening decisiveness.

Sams and Hallowren are a significant pairing primarily because of Carter’s vocal limitations hindering the cohesion she tries very hard to maintain opposite the more vocally firm Sams. Carter is an endearing presence and gives credence to Laurey’s hopeful yearnings, but the score is simply beyond her range, particularly “Many a New Day” and “People Will Say We’re in Love.” As ruthless peddler Ali Hakim, Christopher Delanis (an amusing Hero in the University of Dayton’s recent “A Funny Thing Happened on the Way to the Forum”) is equally uneven, providing an overly meek, tentative and exasperated portrayal absent of salesman-like savvy and go-getting vigor. Even “It’s a Scandal! It’s an Outrage!,” Ali’s signature tune, falls flat despite cheery backup from the male ensemble.
Nonetheless, this production has its share of strong principals and featured performers. As Aunt Eller, the outstanding Karen Righter provides a wonderfully earthy sparkle, specifically bringing substantive radiance to Eller’s words of wisdom directed to Laurey late in Act 2. Kelli Locker is chock-full of fiery abandon as the hopelessly flirtatious Ado Annie Carnes. Matthew Glenn is a delightfully dimwitted Will Parker. Shawn Hooks is effectively authoritative and sly as Andrew Carnes. Ben Douglas (Ike Skidmore) and Zack Conway (Slim) pleasantly partner as Will’s friends. The absolutely luminous Tiffany Cichanowicz captivates as Dream Laurey in the favorably abridged Dream Ballet, beautifully choreographed by Barbara Pontecorvo.
Notable choreography is also offered by Paige Hanshaw, especially in the rousing “The Farmer and the Cowman.” In-demand scenic designer Chris Newman returns to the Playhouse to create a striking set depicting an authentic homestead essence. Kathleen Carroll supplies fine period costumes. John Falkenbach’s lighting design aptly captures varying moods. Musical director Ron Kindell leads another terrific orchestra.

 

“Oklahoma!” continues through May 18 at the Dayton Playhouse, 1301 E. Siebenthaler Ave., Dayton. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Act One: 90 minutes; Act Two: 50 minutes. Tickets are $17 for adults and $15 for seniors and students. For tickets or more information, call (937) 424-8477 or visit online at www.daytonplayhouse.com.

In addition, the Friday, May 16 performance will be “Western Wear Night.” Patrons are encouraged to dress in their favorite farmer or cowboy/cowgirl attire. In addition, two special picnic hampers, containing gift certificates for fried chicken and other picnic delicacies from Benjamin’s Restaurant and sweet treats and coffee from Winans Fine Chocolates and Coffees, will be raffled, as a fundraiser, during all performances and awarded after the closing performance Sunday, May 18. Raffle tickets will be $1 or six for $5.

 

In related news, the Dayton Playhouse’s 2014 FutureFest of new plays will be held Friday, July 25-Sunday, July 27 at the Playhouse. From a total of 151 submissions across the country, the six finalists are: “Masterwork” and “The Paymaster” by Dayton native M.J. Feely (a previous winner and third playwright to have two plays in final six), “Sugarhill” by Linda Ramsay-Detherage, “The Humanist” by Kuros Charney (previous semi-finalist), “The Killing Jar” by Jennifer Lynne Roberts, and “Wash, Dry, Fold” by Nedra Pezold Roberts (previous semi-finalist). Auditions will be held Sunday, June 1 at 2 p.m. (all plays), Monday, June 2 at 7 p.m. (fully staged plays) and Tuesday, June 3 at 7 p.m. (staged readings). Anyone interested in directing or serving as a member of the production staff should e-mail FutureFest program director Fran Pesch by May 15 at fpesch3@hotmail.com. FutureFest weekend passes will go on sale Wednesday, June 11. Single tickets will go on sale Tuesday, July 1. For more information, visit www.daytonplayhouse.com

 

 

‘Oklahoma!’ Review – Wright State University – Sound Territory

By Leave a Comment

Oklahoma!

Kate Mueller and Jon Hacker in “Oklahoma!” (Contributed photo)

Rodgers and Hammerstein’s quintessential 1943 musical “Oklahoma!” thoroughly entertains at Wright State University with an impressive balance of lighthearted exuberance and darkly disturbing menace.
This splendidly tuneful musical is often treated with a one-dimensional, overly optimistic slant, but director Greg Hellems, borrowing a page from Trevor Nunn’s masterfully character-driven 2002 Broadway revival of “Oklahoma!,” avoids pigeonholing the colorful yet flawed characters. Deception, longing and despair also factor into their evolution as they anticipate statehood not long after the dawn of the 20th century. Thankfully, Hellems’ fine cast, attractively clothed in period attire by Lisa Loen, creates three-dimensional characterizations radiating with authenticity and purpose.
Based on Lynn Riggs’ 1930 play “Green Grow the Lilacs,” “Oklahoma!” concerns the emotionally stubborn romance between farm girl Laurey Williams and cowboy Curly McLain. Laurey and Curly are practically made for each other, but they’re reticent to admit it. However, their relationship is put to the test when surly hired hand Jud Fry sets his eyes on Laurey.
Pleasant tenor Jon Hacker, notably featured last season as Henry in the Human Race Theatre Company and Victoria Theatre Association’s local premiere of “Next to Normal,” portrays Curly with charming bravado and a genuine zest for life. He also instills an appealing sense of security into the role, giving credence to Laurey’s need to view Curly as a protector. Kate Mueller, who delivered a breakthrough performance last season as Helen Keller in WSU’s “The Miracle Worker,” delightfully embraces Laurey’s tomboy sensibilities and has palpable chemistry with Hacker. The score doesn’t rest comfortably in her range (which particularly reduces the passion within “People Will Say We’re in Love”), but she’s great in the book scenes, especially the eye-opening moment Laurey reveals her desires in life. An outstanding Andrew Quiett, whose WSU credits include “Grand Hotel,” “The Miracle Worker” and “Spring Awakening,” completes the central love triangle with a deeply obsessive and intimidating portrayal of the pornography-addicted Jud. I’ve never seen a rancher look as clean as Quiett does here, but he’s absolutely grounded in his complex role adding bouts of frightening anger for good measure. In fact, his superbly compelling rendition of “Lonely Room,” a marvelously ominous ballad and one of the most underrated tunes in the R&H canon, is a truly chilling display heightened by a sky of flaming red courtesy of lighting designer Matthew P. Benjamin.
Excellent turns extend to Caroline Gruber (a caring, strong Aunt Eller), Cooper Taggard (a spirited triple threat who turns the jubilant “Kansas City” into an early winner as dim-witted Will Parker), Kaitlyn Sage (an adorable, hilarious Ado Annie particularly delivering “I Cain’t Say No” as if it were written for her), Sean Jones (sly and funny as Ali Hakim), Drew Bowen (a naturally folksy Cord Elam), Ian Benjamin (enjoyably firm as Andrew Carnes), and Bailey Rose (scoring appropriate laughs as Gertie Cummings). The iconic “Dream Ballet,” strikingly choreographed by Teressa Wyle McWiliams, features fluid partnering by Hannah Aicholtz and Kyle Adam.
In addition to the “Dream Ballet,” McWilliams, paying homage to original choreographer Agnes de Mille while retaining her own distinct vision, pulls out the stops with the aforementioned “Kansas City” (featuring a dance break that would make Kathleen Marshall and Susan Stroman proud) and a wonderfully lively “Farmer and the Cowman.” In an inspired move, scenic designer Pam Knauert Lavarnway primarily sets the show within a large barn, allowing various locales to be viewed with a new perspective. Musical director Scot Woolley conducts another terrific orchestra.

“Oklahoma!” continues through Nov. 10 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col Glenn Hwy., Fairborn. Performances are tonight at 8 p.m. and tomorrow at 2 p.m. The production is performed in three hours with one 15-minute intermission. Tickets are $22 for adults and $20 for seniors and students. The remainder of the run is reportedly sold- out, but call the box office at (937) 775-2500 in the event there is availability.