Oklahoma! @stannswarehouse is my first time seeing a production of the show, though the score brings back childhood memories of my brother coming home from school one day singing "Kansas City" and my mom playing us the LP she had of it. But Daniel Fish's production is anything but nostalgic. Mary Testa as Aunt Eller making corn bread from boxes of mix during Oh, What a Beautiful Morning sent the immediate message that it is utterly contemporary, without changing the text.
As a director, I love seeing shows where the director and ensemble commit 100% to a theatrical vision, and here they do it in spades. I love shows that foster intimacy between actors and audience and admits that we are all in this crazy ritual called theater together. I loved the new country blue grass orchestration. SPOILER: And as someone squeamish around blood, the end was genuinely shocking and deeply unsettling. END OF SPOILER. But there were moments I wish were staged differently so that site lines would be clearer and I wish some of the actors projected better because I missed lines, especially sitting near the band. Rebecca Naomi Jones was incredibly nuanced as Laurey and Ali Stroker was hilarious and stole every scene she was in while being an incredible generous scene partner and stage presence. Curly and Jud's scene together was eerie and effective. The book scenes were taughtly directed. I had mixed feelings about the dream ballet, but having recently seen the @nypl_lpa exhibit about Agnes De Mille, I appreciated how John Heginbotham's choreography was in dialogue with the original, quoting from it, to create something contemporary and uttery different. R&H beautiful score has been swimming in my head since seeing the Sunday matinee.
I got $20 ticket by signing up for waitlist at box office 1 hour before show. @todaytix also sell rush tix.
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St. Ann's Warehouse