Oklahoma!

“Oklahoma!” is a favorite of Music Circus audiences. The current production is the 14th since 1954. This production is directed by Linda Goodrich, her third for Music Circus, the last being “Singing in the Rain.”

According to many theater historians, “Oklahoma!,” the first musical collaboration of Rodgers and Hammerstein, who later brought the world the likes of “Carousel,” “South Pacific,” “The King and I” and “The Sound of Music,” changed the face of musical history when it debuted in 1943, for telling an emotional story through music, lyrics and dance like never before.

Based on the play “Green Grow the Lilacs” by Lynn Riggs, “Oklahoma!” brought something akin to folk art to professional theater and won the Pulitzer Prize for drama in 1944 and recently won the Tony for best revival.

The story is set in the Oklahoma territory — in 1906, the days just before statehood — and touches ever so lightly on the ongoing feud between farmers and cattlemen.

As an aside, pay attention to the films shown on the screens surrounding the theater before the show starts. There is a nice history of the Oklahoma territory then and today. (I’m sure lots of women nudged their husbands when they showed Pawhuska, OK, the home of the “Pioneer Woman.”)

This is mostly a story of cattleman Curly McLain (Ryan Vasquez), who is in love with Laurey Williams (Emilie Kouatchou), who lives on a farm with her Aunt Eller (Jennifer Allen) and the hired man, Jud Fry (John Rapson). Jud has his eye on Laurey; she, in turn, is sweet on Curly, though won’t admit it.

Vasquez, who is making his Music Circus debut, has played the title role, among other roles, in “Hamilton” on Broadway. He is a perfect Curly — tall, charismatic and self-assured, with a powerful voice.

Kouatchou, also making her Music Circus debut, is a perky, flirty Laurey, attracted to Curly, but reluctant to give him the satisfaction of knowing it. She, too, has a beautiful, powerful voice, and the chemistry between the two of them is strong.

Rapson, as the dark hired man, has his heart set on Laurey as well, but his intentions are less honorable and he becomes a very scary character when he gets her alone.

It’s a simple story without a deep plot, but with songs like “Oh, What a Beautiful Mornin,’” “The Surrey with the Fringe on Top,” and “People Will Say We’re In Love,” the songs become the thing people remember most.

Brit West is the sex-starved Ado Annie Carnes, who has “known what’s right from wrong” since she was 10, yet “can’t say no” to any man who gives her any attention. West is adorable and doesn’t quite understand that the peddler Ali Hakim (Jeff Skowron) isn’t as interested in her as she thinks.

Skowron is great as Ali Hakim; his discomfort at finding himself engaged to Annie is very funny, as he finds a way to extricate himself.

Pierce Cassedy is Will Parker, who went to Kansas City to win $50 in a rodeo so that he could ask for Annie’s hand in marriage. His “Kansas City” is a wonderful song and dance number, especially for those cowboys in their tap boots.

Ron Wisniski, a Music Circus regular in meaty minor roles, is both Annie’s father and the territory judge, which comes in handy later.

Also of note is Ashley Arcement in the role of Gertie Cummings, who sets her sights on Curly. She has the most annoying laugh and does it perfectly. Often.

The dream ballet features Taeler Cyrus as Dream Laurey, Conrad Sager as Dream Curly and Stephen Hanna as Dream Jud.

It’s best not to think too carefully about the moral of this story, which seems to be that if you kill an unlikeable guy accidentally, you don’t need to go to trial because everyone would rather see you head off on your honeymoon. Poor Jud is dead and doesn’t get the nice funeral Curly promised him.

“Oklahoma!” is a timeless piece of theater and is worth the trip to Music Circus, whether you’ve ever seen it before or not. Your toes will tap and it’s almost a sure bet that you’ll leave the theater humming at least one of those old familiar songs.

Oklahoma!

A big “Yeeow! Aye-yip-aye-yo-d-ee-ay!” to Davis Musical Theater Company for its energetic opening weekend of Rodgers and Hammerstein’s “Oklahoma!”

This show hits high marks across the board from strong direction and choreography by Jan Isaacson, a strong cast, Jean Henderson’s great costume designs (though I have to admit those cowboys had the shiniest boots I’ve ever seen!), and music direction by Chris Congdon.

“Oklahoma!,” the first musical collaboration of Rodgers and Hammerstein — who later brought the world the likes of “Carousel,” “South Pacific,” “The King and I” and “Sound of Music” — changed the face of musical theater history when it debuted in 1943, for telling an emotional story through music, lyrics and dance as had never been done before. Based on the play “Green Grow the Lilacs” by Lynn Riggs, “Oklahoma!” brought something akin to folk art to professional theater and won a Pulitzer special award and citation for music in 1944.

One dare not look too closely at the plot of this musical, for there is little there. At a time when musicals are just as likely to have a dark side as a cheery side, the story of a boy and a girl, their friends and a lunch box social is not exactly likely to provoke much psychological introspection.

The story is set in the Oklahoma territory in 1907 — the days just before statehood — and touches ever so lightly on the ongoing feud between farmers and cattlemen, though that definitely takes a back seat to the story of Curly, a cattleman, in love with Laurey, who lives on a farm with her Aunt Eller and the hired man, Jud Fry, the dark character who has his eye on Laurey, while Laurey has her eye on Curly.

Travis Nagler isn’t quite your typical pretty boy Curly, but looks every bit the catttleman and delivers solid vocals whenever he opens his mouth. His relationship with Laurey (Laura Woodruff) showed some sparks, especially in their verbal battles with one another, and they were believable in their romantic scenes.

Nagler also does his own dancing in the dream sequence with “Dream Laurey” (Kaylin Scott) and “Dream Jud” (Gabe Avila).

Woodruff was a lovely Laurey, with a beautiful soprano. I particular enjoyed her scenes of introspection, when she talks about her dreams and seems to escape into that wished-for world. It was very moving.

Mary Young reprises her 2006 performance as Aunt Eller, one of her better roles. She’s a crusty old dame, reluctant to let her softer side show, and commanding enough respect that everyone listens to her.

Outstanding was Scott Scholes, as Will Parker, in love with Ado Annie (Ashley Holm) and just returned from Kansas City, where he entered a rodeo trying to win $50 so he can marry the girl of his dreams. His “Everything’s Up to Date in Kansas City” was a real show stopper, especially with the choreography for the cowboys.

Holm is perfect as Annie, the hormonally charged young woman who just can’t say no to any man who “talks purdy” to her. In Will’s absence she decided she’s in love with the Persian peddler Ali Hakim (Avila), who eagerly returns her interest, but his own interests don’t really lead toward the altar.

Avila was fun as Hakim who is a typical traveling salesman until he finds himself in a romantic mess. He finds a clever way to extricate himself from a bad situation.

Left out of the program, but still an important character is Andrew Carnes (Michael Davis), Annie’s father who refused to permit Annie to marry Will unless Will could show some responsibility by coming up with $50 cash. For Davis, this was one to check off his bucket list, as, after a productive lifetime, he has finally appeared on stage in a musical … and has done a credible job of it too!

I always have trouble with the plot line and the character of Jud Fry (Steve Isaacson). Jud is the “bad guy,” the “outsider” whom nobody likes and who turns violent in the end. Isaacson owns this role. He brings humanity to Fry and gives the audience a glimpse of why he is the way he is. It is a beautiful and moving performance and makes me wish that Isaacson appeared on stage more often, since he is such a talented actor.

In this week, when we have once again seen the length to which “outsiders” will go when they become angry, I couldn’t help thinking of the bombers of Boston and all the other “outsiders” we have witnessed in the news in recent years.

Jud’s “outsiderness” is even more apparent when there is a more or less a sham trial following his death, in the front yard of Aunt Eller’s house, where the judge laughs and pronounces Curly not guilty of murder so the young folks can get on with their honeymoon and not bother about a more formal trial at the courthouse.

One suspects that had it been Fry who killed Curly, the response of folks would have been quite different.

However, “Oklahoma!” is not a message show, unless the message is to kick up your heels and have a good time, which the DMTC audiences certainly will have if they are fortunate enough to catch this production.