OKLAHOMA! RIDES AGAIN–
THIS TIME WITH DEPTH IN THE SADDLE

When gay playwright Lynn Riggs wrote the rather dark Green Grow the Lilacs, his eighth play, and saw it produced in 1931, it’s likely he never dreamed it would be turned into an upbeat musical that would still be hitting stages 94 years later. Thirteen years later in 1943, a softened and more upbeat musical version by Richard Rodgers (music) and Oscar Hammerstein (book and lyrics), renamed Oklahoma!, opened on Broadway to raves. It ran for over five years. Its success led to the classic 1955 movie starring Shirley Jones (yes, Mrs. Partridge) and Gordon MacRae, which most likely serves as most people’s memory of the musical.

(front) Ariella Kvashny, (back) Amy Smith, Olivia Mitchell, Jazley Genovese

A 2019 revival of the show attempted to keep Rodgers and Hammerstein’s music and script, but did so with a return to much of the darkness Riggs had intended. In a talkback, Cygnet’s director Sean Murray explained that he liked the revival, but noticed that many left at intermission. He wanted to see if Cygnet could bring the pendulum back somewhat while still exploring the characters more deeply than was the norm for musicals in the 1940s and 50s. The result is terrific.

Linda Libby

Oklahoma! is set in the year 1906, specifically in the Oklahoma Territory, shortly before the area became a state. Curly (Michael Louis Cusimano), a cheerful cowboy, flirts with Laurey (Ariella Kvashny), a likeable farm girl, by inviting her to a social event where all the girls create a box lunch to be bid on to raise funds for the schoolhouse. Though Laurey secretly likes Curly, she either pretends to be uninterested or at least isn’t sure about Curly at first. Instead, Laurey agrees to go with Jud (Jacob Caltrider), her brooding hired hand, in part to get Curly’s attention. Meanwhile, Laurey’s Aunt Eller (Linda Libby), offers witty commentary, sage advice, and keeps the peace. The lively townsfolk prepare for the upcoming festivities, filled with anticipation, romance, and jealous tension. Comic relief comes from Ado Annie (Jazley Genovese), who struggles with choosing between her sweetheart Will Parker (Eli Wood) and a charming peddler, Ali Hakim (Ricky Bulda).

Jacob Caltrider

In Cygnet’s attempt to make the program feel more realistic and less pigeonholed, we’re seeing very different Laureys and Juds than we’re used to. In the movie, Jud is huge, looming, and decidedly sinister. Caltrider’s Jud is more human; you don’t like him, but you see more how he’s acting out from pain rather than evil. Kvashney’s Laurey isn’t some stereotypical sweet girl who happens to live on a farm, like Shirley Jones. She’s an able farm manager who is more thoughtful than in traditional productions. Purely through movement, tone, and facials, we see in Laurey more layers of consideration about what to do and how she feels.

Ariella Kvashny, Michael Louis Cusimano

Other characters were brought out in new ways as well. Cusimano’s Curly is a bit more creepy than ordinarily in the song “Poor Jud Is Dead,” playing against the scene’s humor for a bit of reality. Genovese brings great joy to the lively Ado Annie, but alternates between delightfully over-the-top and pathos. Wood’s interpretation of Will might be the closest to traditional, but with wonderful results: his energy lights up the stage every time he arrives as the loveable fool, yielding one of the best performances of the night.

Sean Murray beautifully balances serious tones with lovely comedic moments, using stage lighting (Anne E. McMills) reminiscent of Vaudeville to bring out the playfulness; it’s likely this kind of lighting was on Broadway in 1943, as set changes would have been occurring behind the curtain.

Michael Louis Cusimano

Vocally, the entire cast is great, backed by a six-piece band including an accordion to bring out the countrified sound. Musically, some songs sound like they’re right off the soundtrack album while others have been reinterpreted by musical director Patrick Marion, such as the twangiest version of “Oh, What a Beautiful Morning!” that I’ve ever heard. Jill Gorrie’s choreography made the most of the small stage with outlandish spins and leaps a-plenty to let us know that, whatever else in the show was not as traditional, this is still very much a musical. In particular, Gorrie creates strong imagery through dance in a captivating dream sequence.

The ensemble in the finale

Whether you’re experiencing this classic for the first time or you’re returning to see the subtle but significant shifts (while still sticking to the exact script), this is a wonderful show for Cygnet to end their seventeen year run at The Theatre in Old Town. Come September, the inestimable company returns with Steven Sondheim’s Follies at their new space (called The Joan) in Liberty Station. (In the Taking Over the Territory Department: Fingers crossed that another theatre company grabs up the Old Town space before it becomes a dental office or another souvenir shop.)

photos by Karli Cadel Photography

Oklahoma!
Cygnet Theatre Company
Old Town Theater, 4040 Twiggs St.
Wed, Thurs, Fri at 7; Sat at 2 & 7; Sun at 2
ends on Aug 2, 2025
for tickets, call 619-337-1525 or visit Cygnet