[NEohioPAL]Berko review: OKLAHOMA at Porthouse

[Roy Berko]

OH WHAT A BEAUTIFUL ‘OKLAHOMA!’ AT PORTHOUSE

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

Lorain County Times--Westlaker Times--Lakewood News
Times--Olmsted-Fairview Times	


Based on ‘GREEN GROW THE LILACS,’ a stage play by Lynn
Riggs, ‘OKLAHOMA!’ brought together for the first time
composer Richard Rodgers and lyricist/librettist Oscar
Hammerstein II.  The duo would go on to write nine
Broadway musicals, but none would be as important for
the development of American musical theatre as
‘OKLAHOMA!’   The show fused together story, song and
dance in a way that had never been done before.  This
laid the foundation for the musicals that followed.

The plot is simple, revolving mainly around the
question of who will take Laurey to the box
social--the decent Curly or the sinister Jud Fry, and
the ramifications of her decision.  

Since its opening in March of 1943  ‘OKLAHOMA!’ has
become one of the most oft done musicals, with
productions ranging from professional theatres to high
schools.  The question, therefore, is, how many times
can you see "that old play?" The answer?  As many
times as you can see a fine production of it.  And,
have no doubts about it, the Porthouse Theatre’s
production of ‘OKLAHOMA,’ under the creative eye of
talented director Teri Kent, is one fine production.

Kent, whose own warmth and charm come shining through
in the production, has honed the cast and professional
team into an audience-pleasing team.  The humor, the
pathos, and the wonder of quality theatre are all
present.   A sign of a good musical production is
often keyed by watching what the chorus is doing.   In
this production the chorus doesn’t just stand around
and wait for their chance to sing or say an occasional
line, each person is emotionally involved in every
scene.  

John R. Crawford’s choreography is not only creative,
but is well executed by the dynamic cast.   He makes
the dances his own, not copying the style of the Agnes
de Mille, the award winning choreographer of the
original production.  The dream ballet, which reveals
the main characters’ hidden fears and desires, is the
finest I’ve ever seen.   It is mesmerizing as danced
by Kaitlyn Black and J. Cole Burden and the supporting
cast.

The singers blend well and the orchestra, under the
direction of Melissa Fucci, generally performs well. 
They wisely don’t drown out the singers.  Nolan
O’Dell’s sets, Kazuko Inoue’s costumes and Cynthia
Stillings’ lighting design all work.

In each Roger and Hammerstein show, one song carries
the authors’ message which is often a need for peace
and harmony.  In ‘OKLAHOMA’ the tune is "The Farmer
and the Cowman." It is given a rousing production
number.  Other highlights include "Kansas City," "I
Cain’t Say No," "All or Nothin’" and "Oklahoma."

Kayce L. Cummings is charming as Laurey.  She gives a
unique spin to the role.  Instead of playing it "sweet
and innocent," she adds a level of spunkiness to the
character.  Her singing voice is superb.  She is
beautiful to top it off.  

Eric van Baars as Will and MaryAnn Black as Ado Annie
electrify the stage whenever they appear.  It is
impossible not to smile every time they sing, dance or
speak a line.  Each of their songs is a show stopper. 


Lissy Gulick makes a delightful Aunt Eller.  Rosario
Costanzo does the best Ali Hakim since Joseph Buloff
portrayed the role in the original Broadway
production.  Sarah Lyon’s giggling Gertie is
delightfully grating.   After a slow emotional start
Michael Sherman grows into the role of the menacing
Jud Fry.  He has a nice singing voice and physically
fits the role.   

James Love as Curley, who is a trained opera singer,
has a marvelous singing voice and physically fits the
role.  Unfortunately, his lines are generally
delivered in a flat, emotionally-void manner.  
Because of this, there is very little of the needed
spark between him and Laurey.  His body is stiff and
he appears out of his acting element in this fine
cast. 

A minor glitch in the emotional involvement takes
place at the show’s climax when Jud falls on his knife
and dies during a fight with Curley.    For some
inexplicable reason, Kent has the cast roll the body
over so that we can clearly see that Jud wasn’t
stabbed at all.  It breaks the spell since the
audience is so close to the action.

The Verdict:  Saddle up your trusty colt (or the SUV)
and ride out to Porthouse to see what will probably be
the best production of ‘OKLAHOMA’ "ya evur mite see."

The show runs Tuesdays through Saturday evenings and
Sunday matinees through August 10 at the Porthouse
Theatre, located on the grounds of the Blossom Music
Center in Cuyahoga Falls.  The 500-seat, outdoor,
covered pavilion theatre is a wonderful setting. 
There isn’t a bad seat in the house.  For tickets to
the show which run $15 to $22, call 1-800-304-2363 or
330-672-2497.  You should arrive about an hour before
show time to see "GREENSHOW,’ a celebration of Ohio’s
Bicentennial directed and co-conceived by MaryAnn
Black which stars many of the cast of ‘OKLAHOMA.’


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