Oklahoma

Oklahoma, Bailey Hall, Chatswood. June 1 - 9. (02) 9482 5734.www.chatswoodmusicals.org

As far as classic musicals go it doesn’t get any better than Rodgers andHammerstein’s Oklahoma. Revolutionary when it debuted in the early40s for its use of dance to move the story forward, the show has lost noneof its charm 60 years on. That the show is still around and still as popularas ever is testament to the fact that you don’t need flashy effects ortricks to win over an audience, you just need a good story and some catchysongs.

Adapted from a play by Lynn Riggs, Rodgers and Hammerstein’s show tells astory of unrequited love and obsession, following Curly and Laurey, twocountry kids, as they realise their feelings for each other despite theattempted interference of the weird-loner Jud. Of course, Oklahomaalso features some of the most memorable songs in the musical theatrerepertoire, Oklahoma, Oh What a Beautiful Mornin’, I Can’t Say No, Out ofMy Dreams and People Will Say We’re in Love.

Chatswood Musical Society’s decision to stage Oklahoma mayinitially seem to be rather uninspired, despite the popularity and successof Trevor Nunn’s Royal National Theatre Company production starring HughJackman. After all, the show has gained a reputation (thanks in part to itspopularity and minimal sets/scene changes) as being very community theatrefriendly and it seems every society at some point has done Oklahomaonce or twice. Ironically however, in a world where most community theatregroups are trying out more modern musicals in a bid to compete withprofessional shows, the decision to do a classic is somewhat daring. Heavenforbid they be considered old-hat and lose the interest of their youngermembers. But the people at Chatswood Musical Society needn’t worry for theyhave produced a show that is bursting with energy and life, reminding us whyOklahoma is still going strong after 60 years.

The young cast under the direction of choreographer Laurie Tancred andmusical director Rebecca Lowe do a fabulous job of bringing the show tolife, infusing it with an enthusiasm that is hard not to like. The 60 strongensemble is well drilled and Tancred’s staging ensures that things never getovercrowded. In fact, one of the most surprising parts about this productionis the level of talent throughout the cast, not only do they sing but theyalso move exceptionally well. There are certainly no stragglers here, hidingup the back a step out of time with everyone else, the cast (whose ages seemto range from about eight to sixty) kick up their heels with abandon,pulling off some rather complex routines.

The show is dominated by two impressive female leads, Elli Green (Laurey)and Caitlin Street (Ado Annie) who are as good as anything you’ll see on theprofessional stage at the moment. Green in particular possesses a true moviestar quality, she seems as if she has stepped straight out of a 1940smovie-musical with Fred Astaire. Lachlan O’Brien as Curly sings well buttakes almost all of act one to find his character while John Hogan (Will)and Graham Bone (Ali) provide excellent support.

If there was one downfall about this production it would be a few lengthyscene changes and the obvious appearance of some stage crew, but thosethings are easy to overlook when everything else is working so well.

Going and seeing a musical and being entertained isn’t as cut and driedas it used to be. With a lot of drivel passing itself off as entertainmentit is refreshing to see a show and walk out happy.

You can hear an interview with Matt Cater from Oklahoma in episode 28 of Stagecast