Having recently transferred from a sold-out run at the Young Vic, Oklahoma!, directed by Daniel Fish, certainly meets expectations of excellence. The production made its way across the seas from Broadway, where it earned itself eight Tony Award nominations and won best revival of a musical, writes Bella Christy.
For a story that ultimately auctions women off to the highest bidder, this adaptation does an effective job of presenting women as fierce, independent and strong-willed. The four lead female characters command the stage, unapologetically brash, they playfully torment the men due to conflict between head, heart, and a certain lower down region.
Sex, lust and so much snogging flow out of this production. Fish did not play down a single innuendo found in the script. From premarital sex to infidelity there was no opportunity lost to hype up the sexualities on stage. Whilst the lust was compelling, I wonder if less kissing would have made those moments of excitement or intimacy more meaningful. Nonetheless, the women’s possession of their sexuality was striking in that it reshaped the historical narrative that is so tirelessly played out that women lack desire or sexual agency.
Fish’s production captures the essence of America in 1906 whilst also reflecting modern day. The costumes in particular allow a seamless hybridisation of traditional and contemporary styles. By placing classic rider chaps, which nod towards the cowboy culture of the American South, next to large hoop earrings and short denim skirts there is a merging of two worlds.
The central love story between Curly McLain (Arthur Darvill) and Laurey Williams (Anoushka Lucas) was beautifully acted; a charming longing was conveyed alongside witty banter and stubbornness from both parties. Yet, it was Patrick Vall’s portrayal of the ‘Villain’ Jud Fry that captured my attention in it entirety. His portrayal of an emotionally complex and misunderstood character, set in a time before the acknowledgement of mental health, was truly phenomenal.
Unconventionally, house lighting was kept on during a large portion of the production. This worked to create an intimate environment; the audience and actors can see one another, which allowed the stalls to feel like an extension of the stage. This was certainly true as Gertie Cummings (Rebekah Hinds) abruptly kicks an audience member out of their seat, in order to drool over another.
The moments of blackout, in which the actors perform in complete darkness, strikingly contrast with the bright house lights. Not able to see my own hand let alone the faces around me, I felt as if I were alone with the actors whispering in my ear. During this pitch-black dialogue between Jud and Curly, I felt viscerally moved by Jud’s emotional vulnerability, deepening my empathy for the supposed villain.
Receiving a full house standing ovation, Oklahoma! was an excellent watch. The costumes, characterisation and contemporary narrative saved a story that was in danger of losing its relevance in this lusty, brave and emotionally powerful reimagining.
Wyndham’s Theatre, Charing Cross Road, London, WC2H 0DA until September 2nd. Times: Monday – Saturday: 7:30pm; Wednesday & Saturday matinees: 2pm. Admission: £35 – £150.
Booking: https://www.oklahomawestend.com/ticket-information/
