Daniel Fish's Tony-winning revival of Rodgers & Hammerstein's 'Oklahoma!' reveals the underside of the American story.
Of all the impressive feats director Daniel Fish pulls off in his thrilling deconstruction of “Oklahoma!,” the most impressive might be that in deromanticizing the musical he somehow manages not to kill off the romance at the heart of the show.
Fred Zinnemann’s 1955 film, starring Gordon MacRae as Curly and Shirley Jones as Laurey, the stubborn young lovers determined not to betray their feelings for each other, brought “Oklahoma!” and its brilliant Broadway craftsmanship to the masses. But more importantly, the vision of America emanating from the big screen, with its glistening cornfields and folksy goodness and simplicity, was immediately incorporated into a nation’s self-esteem.
While it’s not technically accurate to say, as CTG’s email does, that the “revival is radically different from the original production without changing a word of the original text,” Fish in many respects hews closer than most to what Hammerstein wrote, at least until the ending, which requires some sleight of hand with the script.The thrust of Fish’s staging is to get us to hear the musical drama in all its different registers.
In defamiliarizing the usual trappings of the musical, Fish changes how it even sounds. The parade of heavenly musical numbers are orchestrated and arranged by Daniel Kluger for 21st century sensibilities. The band, inconspicuous but visible at the back of the set, slides easily between gently traditional and starkly contemporary modes under the music direction of Andy Collopy.
Fish conducts the scene that takes place in Jud’s lair in engulfing darkness. The blackout ratchets up the menace, but who’s the bad guy in this standoff between rivals for Laurey’s heart? Jud is obviously unhinged, but Curly is cruelly planting suicide as a romantic solution to Jud’s woes.
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