Rating: 
Summary: The best production of "Oklahoma" I've ever seen.
Review: I've seen several stage productions of "Oklahoma," as well as the MacRae-Jones movie version. But Trevor Nunn breathes real life into what some may have dismissed as an old chestnut. The result is a full-blooded, gritty, dramatic, and thoroughly involving production, beautifully acted, sung, and danced. The nuances within the lyrics come alive as well, so that we believe we're hearing these 60+-year-old standards for the first time.Up until now, we've only had the 1955 movie version to assess the show, and the movie was very much a product of its conservative era -- overly sentimental and overly censored. Shirley Jones's Laurey of the 1950s, in gingham dresses, was sweet, overly feminine, and coy, unlike Josefina Gabrielle's tom-boyish, hardworking, farm laboring, feisty, salt-of-the-earth Laurey who, dressed in a flannel shirt and overalls throughout most of the first act, looks and acts like she has some genuine connection to the soil. Gordon MacRae as the 1955 Curley, was a wonderful baritone, with a pre-requisite masculine presence, but he lacked Hugh Jackman's dramatic abilities and subtletly of performance. Although Rod Steiger was an exceptional movie Jud, he was at the disadvantage of having so much of his material condensed and/or censored that he came across mainly as a movie "heavy," whereas in this current production, Shuler Hensley is given all the artillery of the original stage script to play with, including a previously cut song, and thus his Jud emerges as a terrifying and yet sympathetic villain. Granted, probably no one living or dead can compare to Charlotte Greenwood's Aunt Eller in the original movie, but Maureen Lipman still manages to make this part her own, quite sympathetically, not only as Laurey's guardian but as the community's matriarchal figure. Susan Stroman's new choreography is absolutely splendid, and probably for the first time ever, the ballet sequence actually works, since the performers can sing, act, and dance, and don't require doubles to do the footwork. Also noteworthy are Jimmy Jonston as Will Parker and Vicki Simon as Ado Annie (even though Gloria Grahame will always be my ideal of that character, even with the sometimes bowdlerized lyrics Gloria had to sing in 1955.) As some have pointed out here, the "Persian" peddler, Ali Hakim, played by Peter Polycarpou, sounds more New York by way of Eastern Europe than Persia, but perhaps this was intentional since he is somewhat of a flimflam man (and, you may recall, Eddie Albert hardly looked or sounded Persian in the movie version either). This Trevor Nunn production also reminds us that we are not watching just another frothy musical comedy of yesteryear, devoid of any relevance to today. The show examines hatred and bigotry (between rancher and cowman). The show includes psychotic stalking (Jud's obsessive behavior toward Laurie). The show presents us with attempted murder (Jud's two attempts to kill Curley). The show even includes drug usage (Laurey's snorting of Ali Hakim's elixer that sends her off into an acid-like ballet trip). Now how modern or relevant can you get? As a major cohesive theme, Trevor Nunn stresses the animosity existing between the farmers and the cowboys. Thus, when Curley proposes to Laurey, he also decides to give up his free, roaming life as a cowboy and settle down to farm. This scene is not only poignant, but a powerful symbol of encroaching civilization, since this newly settled territory is about to become a state in an Old West that is quickly vanishing. The conflict between farmer and cowboy also highlights the opposition of Ado Annie's father, a farmer, to Ado Annie's marrying Will Parker, a cowboy. This conflict further plays out between Laurey's suitors, the cowboy Curley and the farmer Jud. Thus, the song, "The Farmer and the Cowman Should Be Friends" is far more integral to the whole story than just a rousing second-act opening. The only thing somewhat curious about the production, and this is a minor quibble, was the choice to periodically show several scenes shot from the stage into a live audience at the National so that we can gauge audience reaction and applause to certain key scenes. Yet, except for these scattered scenes, the production was mostly shot without any live audience present. Thus, an unnatural blending occurs, in which there is no audience reaction to comic lines when there should be, reminding us that there is no actual audience present. Perhaps Trevor Nunn simply wished to show us the audience's enthusiasm, when they actually were present, to duplicate the electricity between audience and performers in a live production. Still, I wonder if this idea should have been reconsidered.
Rating:
Summary: The best production of "Oklahoma" I've ever seen.
Review: I've seen several stage productions of "Oklahoma," as well as the MacRae-Jones movie version. But Trevor Nunn breathes real life into what some may have dismissed as an old chestnut. The result is a full-blooded, gritty, dramatic, and thoroughly involving production, beautifully acted, sung, and danced. The nuances within the lyrics come alive as well, so that we believe we're hearing these 60+-year-old standards for the first time. Up until now, we've only had the 1955 movie version to assess the show, and the movie was very much a product of its conservative era -- overly sentimental and overly censored. Shirley Jones's Laurey of the 1950s, in gingham dresses, was sweet, overly feminine, and coy, unlike Josefina Gabrielle's tom-boyish, hardworking, farm laboring, feisty, salt-of-the-earth Laurey who, dressed in a flannel shirt and overalls throughout most of the first act, looks and acts like she has some genuine connection to the soil. Gordon MacRae as the 1955 Curley, was a wonderful baritone, with a pre-requisite masculine presence, but he lacked Hugh Jackman's dramatic abilities and subtletly of performance. Although Rod Steiger was an exceptional movie Jud, he was at the disadvantage of having so much of his material condensed and/or censored that he came across mainly as a movie "heavy," whereas in this current production, Shuler Hensley is given all the artillery of the original stage script to play with, including a previously cut song, and thus his Jud emerges as a terrifying and yet sympathetic villain. Granted, probably no one living or dead can compare to Charlotte Greenwood's Aunt Eller in the original movie, but Maureen Lipman still manages to make this part her own, quite sympathetically, not only as Laurey's guardian but as the community's matriarchal figure. Susan Stroman's new choreography is absolutely splendid, and probably for the first time ever, the ballet sequence actually works, since the performers can sing, act, and dance, and don't require doubles to do the footwork. Also noteworthy are Jimmy Jonston as Will Parker and Vicki Simon as Ado Annie (even though Gloria Grahame will always be my ideal of that character, even with the sometimes bowdlerized lyrics Gloria had to sing in 1955.) As some have pointed out here, the "Persian" peddler, Ali Hakim, played by Peter Polycarpou, sounds more New York by way of Eastern Europe than Persia, but perhaps this was intentional since he is somewhat of a flimflam man (and, you may recall, Eddie Albert hardly looked or sounded Persian in the movie version either). This Trevor Nunn production also reminds us that we are not watching just another frothy musical comedy of yesteryear, devoid of any relevance to today. The show examines hatred and bigotry (between rancher and cowman). The show includes psychotic stalking (Jud's obsessive behavior toward Laurie). The show presents us with attempted murder (Jud's two attempts to kill Curley). The show even includes drug usage (Laurey's snorting of Ali Hakim's elixer that sends her off into an acid-like ballet trip). Now how modern or relevant can you get? As a major cohesive theme, Trevor Nunn stresses the animosity existing between the farmers and the cowboys. Thus, when Curley proposes to Laurey, he also decides to give up his free, roaming life as a cowboy and settle down to farm. This scene is not only poignant, but a powerful symbol of encroaching civilization, since this newly settled territory is about to become a state in an Old West that is quickly vanishing. The conflict between farmer and cowboy also highlights the opposition of Ado Annie's father, a farmer, to Ado Annie's marrying Will Parker, a cowboy. This conflict further plays out between Laurey's suitors, the cowboy Curley and the farmer Jud. Thus, the song, "The Farmer and the Cowman Should Be Friends" is far more integral to the whole story than just a rousing second-act opening. The only thing somewhat curious about the production, and this is a minor quibble, was the choice to periodically show several scenes shot from the stage into a live audience at the National so that we can gauge audience reaction and applause to certain key scenes. Yet, except for these scattered scenes, the production was mostly shot without any live audience present. Thus, an unnatural blending occurs, in which there is no audience reaction to comic lines when there should be, reminding us that there is no actual audience present. Perhaps Trevor Nunn simply wished to show us the audience's enthusiasm, when they actually were present, to duplicate the electricity between audience and performers in a live production. Still, I wonder if this idea should have been reconsidered.
Rating:
Summary: Best of a beloved show
Review: In a place where the title number is the official State song, any staging of "Oklahoma" is appreciated - but it sure better be done right! How amazing it was for me then to see a production from the other side of the Atlantic that captured the special essence of the show better than any before it. From the staging and sets, to the direction, to the casting and performances, this is the version of Oklahoma that gets it all right. By paying more attention to the subtleties of dialogue and characterizations, Trevor Nunn has brought a depth of meaning and poignancy to this "Oklahoma" that is usually missed, while retaining the fun and enthusiasm that bursts from the score like a field of Oklahoma wildflowers in spring! Thank you to Mr. Nunn for such a lovely tribute to "Oklahoma" - and the people who call the locale home.
p.s.: Come for a visit. The real place is every bit as good as the musical!
Rating:
Summary: Best of a beloved show
Review: In a place where the title number is the official State song, any staging of "Oklahoma" is appreciated - but it sure better be done right! How amazing it was for me then to see a production from the other side of the Atlantic that captured the special essence of the show better than any before it. From the staging and sets, to the direction, to the casting and performances, this is the version of Oklahoma that gets it all right. By paying more attention to the subtleties of dialogue and characterizations, Trevor Nunn has brought a depth of meaning and poignancy to this "Oklahoma" that is usually missed, while retaining the fun and enthusiasm that bursts from the score like a field of Oklahoma wildflowers in spring! Thank you to Mr. Nunn for such a lovely tribute to "Oklahoma" - and the people who call the locale home.
p.s.: Come for a visit. The real place is every bit as good as the musical!
Rating:
Summary: Best of a beloved show
Review: In a place where the title number is the official State song, any staging of "Oklahoma" is appreciated - but it sure better be done right! How amazing it was for me then to see a production from the other side of the Atlantic that captured the special essence of the show better than any before it. From the staging and sets, to the direction, to the casting and performances, this is the version of Oklahoma that gets it all right. By paying more attention to the subtleties of dialogue and characterizations, Trevor Nunn has brought a depth of meaning and poignancy to this "Oklahoma" that is usually missed, while retaining the fun and enthusiasm that bursts from the score like a field of Oklahoma wildflowers in spring! Thank you to Mr. Nunn for such a lovely tribute to "Oklahoma" - and the people who call the locale home.
p.s.: Come for a visit. The real place is every bit as good as the musical!
Rating:
Summary: An OKLAHOMA! for Our Time
Review: Of special interest in this acclaimed British production of OKLAHOMA! is the Dream Ballet that ends Act I. Conceived and staged in the original 1943 production by Agnes de Mille, the ballet attempts to show the subconscious wishes and anxieties of the heroine, Laurey: her love for the upright Curly and her fear of, yet strange attraction to, his enemy, the disgusting Jud Fry. In the British version, choreographer Susan Stroman gives us a definite taste of de Mille's original (which can also be seen in the 1955 film version of OKLAHOMA!), while giving it added sexual tension; there is no question, here, what Laurey fears from Jud. As for the rest of the show, director Trevor Nunn lives up to his reputation of getting at characters' motivations; each actor gives a credible, multi-dimensional portrayal, and even the ensemble members have specific "characters" to play.
The roles of Curly, Laurey, and Jud are played by "triple threat" actors (they even do their own dancing in the ballet) Hugh Jackman, Josefina Gabrielle, and Schuler Grant. Although my favorite Curly will always be Gordon Mac Rae (in the 1955 movie), I must admit that Jackman is visually ideal and vocally almost that - his real accent is sometimes audible when he sings, and his voice does not have quite the openness of Mac Rae's - as Curly. Gabrielle is likewise visually perfect and an excellent dancer, even though her soprano, though more than adequate, is not especially glamorous.
But it is Grant and the rest of the supporting cast who steal the show. Grant's Tony Award-winning Jud is dangerous, disturbed (what an eerie smokehouse scene with Curly!), yet oddly sympathetic: one feels truly sorry when Laurey repulses him, and when he is killed. As the secondary "comic couple," Will and Ado Annie, Jimmy Johnston and Vicki Simon have the best voices in the cast and make a special treat of their Act II duet, "All Er Nothin'." Finally, Maureen Lipman (Aunt Eller), Peter Polycarpou (Ali Hakim), and the actor who plays Mr. Carnes all offer outstanding character portrayals. While some, including myself, will still prefer the first movie version, this 2001 production of OKLAHOMA!, captured here on DVD, will likely prove very influential in coming years.
Rating:
Summary: Trevor Nunn I knew you wouldn't let me down!
Review: Oh, I know R&H believe me. At first, when I saw this up on the T.V guide I have to admit I was skeptic... Trevor Nunn wrote the additonal lyrics for the famous CATS song "Memory" what made me think he could direct over 100 people on stage? I have no clue, I was happy to hear some songs that I have never heard before, and that was just the beginning. This movie is wonderful! All of the cast our excellent.
Hugh Jackman- You wonder, can anyone live up to the expectations of Gordan Mcrae? Yes! At least, Hugh can he was the most greatest Curly I have seen in my life.
Josefina Gabrielle- Don't get me wrong people. Shirley Jones was the most gorgeous Laurie I have seen in my life. Problem being.... She didn't do her own dance stunts. Whereas Josefina Gabrielle did them and was terrific! Not to mention, Josefina brings that "oomf" to Laurie's character.
Shuler Hensley- Yikes! Judd Fry always scared me as a little girl, but now after seeing this movie it gave me a whole new respect for this character. You know bad-guy with a bittersweet heart. I thought Jerome Pradon was the only guy who could do that. I was wrong!
Maureen Lipman- I liked the oringial Aunt Eller cause she has more charisma but Maureen is the next best thing! That's all I can say.
Jimmy Johnston- Will was so cute in the oringial movie, and he could sing. Now even though I'll admit Jimmy don't have the looks,he has the moves and the voice that Will Parker's character needs! He has better chemistry then Will did with Annie in the first film.
Vicki Simon- Oh my gosh, you say to yourself what is up with Charolette Greenwood's voice. Vicki has the charm,voice,charisma and everything to play Ado Annie. Every boy's dream in good old Oklahoma.
Now, the music I have to talk about on the scale of 1 to 10 basis.
Oh,What A Beautiful Mornin'- 9: Hugh was terrific, a little weak but he makes it work!
Surrey With A Fringe On The Top-10: Much better! Perfect for Hugh's tone level and his movements during this song are so realisitc.
Kansas City-10: Jimmy's first song as Will Parker, and must I admit that is a great way to start off any performance. Great rodeo tricks and keen on dancing!
I Cain't Say No-10: Vicki was right on pitch during this song! She was witty and flamboyant just what I wanted.
Many A New Day-8: Josefina's first song it wasn't perfect. Then again no song is perfect.
It's A Scandal! It's A Outrage!-7: I didn't hear this song, I mean it seems pretty boring, yet I'll give it a 7.
People Will Say We're In Love-10: I can only tell you in one word what this song is. GREAT!
Por Jud Is Daid-10: Hugh terrific job and Shuler Hensley even better job for the background vocal.
Lonely Room-10: Powerful I can't say any more cause that's all I need to say about it.
Out Of My Dreams-10: Another terrific song, Josefina was perfect in her first solo performance.
Ballet-10: Excellent! Perfect Dancing!
Farmer And The Cowman-10: The first ensemble number, and I will say that this is a classic number as of this moment.
All Er Nothin'-10: Perfect, unlike in the oringial Annie and Will can actually act like a real couple and sing at the same time!
People Will Say We're In Love (Reprise)-10: Short but sweet.
Oklahoma!-10: A classic R&H song and trust me these guys make sure it lives up to that title.
Finale Utimo-10: Excellent! Then again, all of this is terrific!
Okay, I'll wrap this review up with a few words. Don't Miss Out On This DVD! Weston out!
Rating: 
Summary: Dull as Dishwater of Classic Americana
Review: Oklahoma has never been one of my favs on the Broadway hit parade. But the prospects of the formitable Hugh Jackman at the Helm as Curly in a newly staged show, caused a light stir in my home when we learned of the new, much hyped production. But Seldon have I witnessed the dulling down of a such a cherished piece of american musical theatre. Truthfully, if it not for Jackman and the man cast as Judd Fry this re-staging wouldnt have been worth the space on a DVD. Calling this show drab and unexciting would be overstating it. Visually, it is a vapid, drab, muted, empty space cosisting of sickly looking corn fields and grayish skies, filled with off-off-Broadway actors/singers going through their roles that I have seen better performed in high school and college productions-For real! I mean who would get the warmies for Ado Annie? She'll never see 38 again! But it was hard to tell who was pretty and who wasn't, because it didnt appear that anyone wore a stitch of makeup. When they do drab, they go all the way! But perhaps most annoying of all, was the wide shots of the audience's response after every single musical interlude. Normally, when I have viewed DVDs of Broadways shows, we hear the audience but dont have to look at the ugly bloats clapping and stomping as if they were watching the Second Coming. There surely must have been a well-stocked bar at the theatre on this night. RATING:For Hugh Jackman fans only.
Rating: 
Summary: CLOSE, but... (based on the Region 2 release)
Review: Recording this production for posterity is NEARLY a wonder! The performances range from quite acceptable to TERRIFIC! This is the first production of "Oklahoma" I have seen in which the Dream Ballet is not double cast with "Dream Curly" or "Dream Laurey" etc. Jackman and Hensley are simply terrific in this! Or at least as it is filmed. And here is my hesitation: Though I did not see this production on stage, there is some obvious restaging for this recording. 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. It's awkward and obvious and very distracting. Cutting away to the audience so we can't see the set change is annoying. However, I am grateful that at least there was an attempt to preserve this production for posterity. (Oh, and Hugh Jackman in chaps?! Oh what a beautiful... }:) )
Rating:
Summary: The best version ever!
Review: Seeing this wonderful British version was like seeing Oklahoma for the first time. It's triple threat cast - they can act, sing AND dance - were just thrilling. Beautiful, and multi-range voices, energetic dancing and perfect deliverly of their lines made this a pure pleasure. Who would have thought that a group of Brits could do a play about the American frountier better than we Americans. But they pulled it off. I have seen a half dozen versions of this play on stage and with this production I found myself laughing out loud at the lines, even though I knew the dialogue by heart - getting goose bumps from the songs - and being enthralled at the choreography, which is reminiscent of the original DeMill, but much more athletic and energetic. This is a filmed stage production, so the set is rather stark, but very cleaverly done, and it does not take away from the play, because you can't keep your eyes off the cast! For those who have never seen Oklahoma, this is the perfect one to introduce you to the great American musical. For those who are familiar with it - what a wonderful surprise this will be for you.
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