Rating: 
Summary: A SNORE FESTIVAL FROM GREAT BRITIAN.
Review: "Oklahoma!" is as close to a perfect American Musical as you're ever going to find; and all this production did was make me appreciate the 1955 film version all the more. Trevor Nunn's pacing is slow to the point of boredom and the sporadic use of a "live" audience intercut with dead-air studio footage is distracting to say the least. All this makes it very hard to listen to the participants in the "Making Of" documentary on Disc 2 wax eloquently about how this 1999 production is better than the original Broadway version! I love "Oklahoma" and was genuinely excited about buying this DVD. I really was looking forward to a fresh new version of this Great American Romp. What I got was a museum piece pressed under glass like rose petals.
Rating:
Summary: A SNORE FESTIVAL FROM GREAT BRITIAN.
Review: "Oklahoma!" is as close to a perfect American Musical as you're ever going to find; and all this production did was make me appreciate the 1955 film version all the more. Trevor Nunn's pacing is slow to the point of boredom and the sporadic use of a "live" audience intercut with dead-air studio footage is distracting to say the least. All this makes it very hard to listen to the participants in the "Making Of" documentary on Disc 2 wax eloquently about how this 1999 production is better than the original Broadway version! I love "Oklahoma" and was genuinely excited about buying this DVD. I really was looking forward to a fresh new version of this Great American Romp. What I got was a museum piece pressed under glass like rose petals.
Rating: 
Summary: I'm not alone...
Review: ... in this. Here's a quote from another reviewer:
"This was either taped in a studio or on the stage in an empty theatre - which is not such a big deal, except for the editing in of a live audience."
I received my copy yesterday and could hardly wait to get home and check it out. The opening shots of London and the Thames are great, the audience streaming into the theater (a stadium-type theater, which they all should be), but I didn't immediately pick up on the fact that the audience is "hugging" the stage, and no orchestra pit (turns out there is no orchestra). I managed to get through about three-quarters of an hour when I had to stop it and play some of the movie version of "Oklahoma" just to see it done well. I know, I know, I'm alone in this -- all the "professional" critics love it! And the "amateurs", too! The shots circling the cast on stage and showing the audience are pretty ridiculous when it becomes clear that there is no audience! Doing some minor research on this production shows that it was taped at Shepperton Studios in London, with the audience segments edited in. While applause can be heard after the musical numbers, there is no other audience reaction, like laughter after some funny lines. Worst of all is the lip-synching. And if you doubt it, watch "Curly" Hugh Jackman as he sings, enunciating clearly through clenched teeth, and then with a cigarette clamped in his mouth. And, here I go again, I found Jackman's voice grating after a few bars. "Laurie" is pathetic based on what I have seen so far. Looks as if she could use a good thrashing from Aunt Eller (and maybe a bath, too)! It may be that other parts of the show are decent (Aunt Eller is great--Will is okay, but kind of a tubby little guy). I, of course, will check the disk out at a later date, when I am less incensed! So, since I am alone (almost) in this, go ahead and lambast me !
Rating: 
Summary: It's absolutely imperfectly perfect!
Review: As a professional musician I agree somewhat with the comments of other reviewers regarding "Curly's" voice and other musical aspects of the production. And yes, it's not really a filming of a "live" stage production. But none of that matters. It's still a stellar production. I had seen the movie version of "Oklahoma" and was completely unimpressed. I stumbled across this production on a PBS broadcast and could not tear myself away. It's the next best thing to being in the theatre yourself and it's pure magic. The acting, dancing and expressive singing here add amazing depth and breadth to an already-well-known story. While many productions of musicals often come to a crashing halt the minute the singing/dancing starts, this production flows seamlessly forward as the acting continues in every note and gesture. (Note to the music snobs: "Flaws" of individual style and musical performance are often part of defining and illuminating a character.) All the positive comments about the actors, direction, choreography, etc., in other reviews here are right on. If you are even remotely interested in music theatre, buy this DVD and block off 3 straight hours in your schedule because you won't be able to tear yourself away!
Rating:
Summary: The classic American musical gets the Trevor Nunn touch
Review: Every time I watch a version of "Oklahoma!" there are two conclusions that I always reach. The first is that there is no greater chorus in the American musical than the title song from this show. No wonder as soon as it is finished the cast does it again and then for good measure does it at the end of the curtain calls. It always gives me chills when they do the big finish and it occurs to me that the song "Oklahoma" is our secular equivalent of "The Hallelujah Chorus." The second inevitable thought is that Shirley Jones had a truly great singing voice, perfect for musical theater. Any one who plays Laurey Williams is going to suffer in comparison when it comes to the singing (the test case remains the same: the end of the reprise of "People Will Say We're in Love." That is not to say that this 1999 London Stage Revival of the classic Rodgers and Hammerstein musical is not impressive. Director Trevor Nunn restores the full text and you can see why Richard Rodgers and Oscar Hammerstein II were both interested in turning Lynn Riggs' play "Green Grow the Lilacs" into a musical. It might seem strange to say so, but one of the strengths of this production is that the acting is so solid. The comic relief characters like Will Parker (Jimmy Johnston), Ado Annie (Vicki Simon), and Ali Hakim (Peter Polycarpou), are given more gravity without sacrificing the humor. Of course, part of this is because the show was not really filmed before a live audience, even though there are applause and shots of the audience from the stage at the end of most of the musical numbers. So never is heard a laugh from the audience during the proceedings, which necessarily gives more weight to the characters and the action. Hugh Jackman is the main attraction as Curly McLain, mostly because fans have problems believing this is the guy who plays Wolverine in the "X-Men" movies, although having just won the 2004 Theater Wings Best Actor in a Musical Tony Award for portraying singer Peter Allen in the Broadway version of "The Boy From Oz" should establish his bona fides in this regard. Josefina Gabrielle plays Laurey Williams as more of a tomboy, and if her singing is solid but unspectacular, her acting and dancing bring some new dimensions to the character as well. The dream ballet has the novelty of being the first major production in which Curly and Laurey do their own dancing. There are those who do not care for the sequence on principle, but having it here as the end of the first act makes for effective foreshadowing. It is hard to think there could ever be a bad Aunt Eller, and Maureen Lipman shows how well the role can work when it is underplayed. But I think the standout performer here has to be Shuler Hensley as Jud Fry (Hensley played the Frankenstein Monster to Jackman's vampire hunter in "Van Helsing" this summer). The character is the villain and he never seems to quite work in most of the version of "Oklahoma!" I have seen. But Hensley brings a subtlety to the role that really makes it work. You get a sense of how he is dangerous without him being overtly threatening; in other words, you can understand why Laurie would consider him, even if only for a moment. Having such a strong performer in that role really elevates the show. "Oklahoma!" holds up really well, provided you are open to what we would not consider to be an old-fashioned musical (anything by Rodgers & Hammerstein and/or before Stephen Sondheim and Andrew Lloyd Webber), and Nunn deserves a lot of the credit for crafting this production. The only serious complaint with the DVD is that all we have on the Bonus Disc is a 24-minute featurette on the production. While that has its moments (the Rodgers & Hammerstein people are actually puzzled as to why Nunn wants to do the show, as if the British have no understanding or respect for the classics) it is hard to believe they could not fit it on the other disc. In comparison, the "Mystic River: Bonus Disc" has 189 minutes of material.
Rating:
Summary: The classic American musical gets the Trevor Nunn touch
Review: Every time I watch a version of "Oklahoma!" there are two conclusions that I always reach. The first is that there is no greater chorus in the American musical than the title song from this show. No wonder as soon as it is finished the cast does it again and then for good measure does it at the end of the curtain calls. It always gives me chills when they do the big finish and it occurs to me that the song "Oklahoma" is our secular equivalent of "The Hallelujah Chorus." The second inevitable thought is that Shirley Jones had a truly great singing voice, perfect for musical theater. Any one who plays Laurey Williams is going to suffer in comparison when it comes to the singing (the test case remains the same: the end of the reprise of "People Will Say We're in Love." That is not to say that this 1999 London Stage Revival of the classic Rodgers and Hammerstein musical is not impressive. Director Trevor Nunn restores the full text and you can see why Richard Rodgers and Oscar Hammerstein II were both interested in turning Lynn Riggs' play "Green Grow the Lilacs" into a musical. It might seem strange to say so, but one of the strengths of this production is that the acting is so solid. The comic relief characters like Will Parker (Jimmy Johnston), Ado Annie (Vicki Simon), and Ali Hakim (Peter Polycarpou), are given more gravity without sacrificing the humor. Of course, part of this is because the show was not really filmed before a live audience, even though there are applause and shots of the audience from the stage at the end of most of the musical numbers. So never is heard a laugh from the audience during the proceedings, which necessarily gives more weight to the characters and the action. Hugh Jackman is the main attraction as Curly McLain, mostly because fans have problems believing this is the guy who plays Wolverine in the "X-Men" movies, although having just won the 2004 Theater Wings Best Actor in a Musical Tony Award for portraying singer Peter Allen in the Broadway version of "The Boy From Oz" should establish his bona fides in this regard. Josefina Gabrielle plays Laurey Williams as more of a tomboy, and if her singing is solid but unspectacular, her acting and dancing bring some new dimensions to the character as well. The dream ballet has the novelty of being the first major production in which Curly and Laurey do their own dancing. There are those who do not care for the sequence on principle, but having it here as the end of the first act makes for effective foreshadowing. It is hard to think there could ever be a bad Aunt Eller, and Maureen Lipman shows how well the role can work when it is underplayed. But I think the standout performer here has to be Shuler Hensley as Jud Fry (Hensley played the Frankenstein Monster to Jackman's vampire hunter in "Van Helsing" this summer). The character is the villain and he never seems to quite work in most of the version of "Oklahoma!" I have seen. But Hensley brings a subtlety to the role that really makes it work. You get a sense of how he is dangerous without him being overtly threatening; in other words, you can understand why Laurie would consider him, even if only for a moment. Having such a strong performer in that role really elevates the show. "Oklahoma!" holds up really well, provided you are open to what we would not consider to be an old-fashioned musical (anything by Rodgers & Hammerstein and/or before Stephen Sondheim and Andrew Lloyd Webber), and Nunn deserves a lot of the credit for crafting this production. The only serious complaint with the DVD is that all we have on the Bonus Disc is a 24-minute featurette on the production. While that has its moments (the Rodgers & Hammerstein people are actually puzzled as to why Nunn wants to do the show, as if the British have no understanding or respect for the classics) it is hard to believe they could not fit it on the other disc. In comparison, the "Mystic River: Bonus Disc" has 189 minutes of material.
Rating:
Summary: An excellent piece of work
Review: Having only seen brief glimpses of Oklahoma in my childhood and being pretty much unimpressed, I was bowled over when I saw this. The talented cast, set against beautiful scenery, brought the music and story to life in the best way for me. The role of Judd is played softer, rawer, and you almost feel guilt at watching Curly toy with him and describe his funeral- And yet Curly shines and amazes in the bake sale scene where he gives up everything for Laurey. All told, an understated, modern approach that left me feeling a lot better about the musical.
Rating:
Summary: A new "OKLAHOMA!"
Review: Having seen the movie version of this landmark musical a long time ago, it was an unexpected and very pleasant surprise for me to see the stage treatment of the show's revival in London a few years ago. What I saw was a more dramatic, a more engaging, and a more sophisticated version of this first of Rodgers and Hammerstein many stage musical hits. The characters had more depth to them, the songs more robustly sung, and the dancing as energetic as ever. Part of the success is due to the masterful direction from Trevor Nunn and his decision to engage non-star actors like the Australian find Hugh Jackman, dancer/singer Josefina Gabrielle and Shuler Hensley, and of course veteran Maureen Lipman. Hugh's stage presence and singing ability is a wonderful surprise - presaging the star quality that now has him ready to open the 2003 Broadway season's most awaited show " The Boy from Oz" as well as the fine acting and magnetic presence which have launched him to superstardom in films... It was not surprising that Hugh was chosen to re-enact the role of Billy Bigelow from the second Rodgers and Hammerstein musical hit "CAROUSEL" when it was presented in concert at Carnegie Hall on the centennary of Richard Rodgers in 2002. Long before he became Wolverine or the Duke of Albany, Mr. Jackman belonged to the musical theatre stage! I have the DVD- Region 2 of this filmed stage version -- and I have practically worn it out from much use. The show is fairly long ( 3 hours or so) but it captures other scenes and songs not seen in the movie version. There is a good documentary on how the show and the filmed stage version came into being, which is very useful in appreciating this stage classic. The daughter of Richard Rodgers was all praises for this version of OKLAHOMA! ... I can only say AMEN to that!
Rating:
Summary: Absolutely wonderful!!!!
Review: Having seen the show in London and Broadway I can easily say that this DVD marvelously captures the spirit of that great production. Trevor Nunn did it right by bringing the cast into a studio so they could bring out details and he could photograph better than what would have been possible in the theatre. He does cheat a bit by showing the rapturous audience at the actual production but that just adds to the excitement. The cast recorded as they performed in the studio so there is no problem with lip-synching to a pre-recorded track. The show has a thrilling exuberance that has been rarely captured - sit back and enjoy!!!!!
Rating: 
Summary: Revelatory Revival
Review: Having seen Trevor Nunn's lackluster (make that dreadful) revival of "Oklahoma" on Broadway, I was sceptical about watching its original London incarnation. But by "Surrey..." I was hooked. I've seen my share of "Oklahomas" in my day, but for the very first time I felt that I were watching real, breathing, living people experiencing conflicts and joys that mattered to them. Every moment is superbly played, if only at times moderately sung. This is not musical comedy, this is musical drama of the highest order. Take off one star for the muddled conception (sometimes the audience is there, sometimes they're not) and Susan Stroman's truly pedestrian choreography. This is a disc that I rented, and ten minutes into watching it realized that I needed to own.
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