It may be strange to learn that one of the finest moments in Central City Opera’s vibrant production of “Oklahoma!” doesn’t have anything to do with singing. Instead it comes in the form of a dream ballet, choreographed by Daniel Pelzig.
Of course, if you know Richard Rodgers and Oscar Hammerstein II’s ground-breaking musical (first performed on Broadway in 1943) or the 1955 big-screen adaptation, then this news isn’t quite so surprising.
Corralling Agnes de Mille to create the show’s original choreography only added luster to Rodgers and Hammerstein’s shimmering arrival as partners and musical mavericks. The ballet wasn’t just pretty, it furthered the story of beloveds Laurey (played here by Maureen McKay) and Curly and the farmhand Jud Fry in a way not seen in musical theater before.
Pelzig’s work also moves the story forward even as it provides a gorgeous pause right before intermission.
The ballet, however, is not the only show-stopper in this spare yet brimming production, directed by Ken Cazan.
Set in 1906, “Oklahoma!” is based on Lynn Riggs’ play “Green Grow the Lilacs.” That broad expanse of prairie hasn’t yet become a state, but its pioneers are a spirited, big-dreaming lot.
When Curly (baritone Matthew Worth) enters the theater from the house, his rendition of “Oh, What a Beautiful Mornin’ ” exudes a confident appreciation of place but also has more than a little bit of swoon running through it.
There’s a lot of sweet pining in this musical. There’s also lust.
Curly and Laurey’s relationship is a verbal pas de deux of courtship. He moves forward. She pulls away, feigning a disinterest she’ll have to reckon with as Jud pursues her.
Paul LaRosa portrays Jud, the farmhand whose desire for Laurey is a bit untoward. LaRosa’s quite handsome, which gives Jud’s private proclivities an added psychological edge. Were Jud recast for this day and age, he might have an Internet porn addiction.
The “Oklahoma!” ensemble is winning. Curt Olds brings unfettered energy and optimism to cowpoke Will Parker, who vies with trinket peddler Ali Haikim (Gene Scheer) for Ado Annie’s affections. Kaitlyn Costello portrays the overheated gal (Annie) “who cain’t say no.”
Mezzo-soprano and Central City vet Joyce Castle does warm, sturdy work as Laurey’s Aunt Eller. She’s a bit Ma Kettle, but with less of the dithering. Indeed, when the farmers and the cowboys decide not to be friends, she sets them straight with tongue lashing and a pistol.
The minimal, evocative set, by scenic designer Alan E. Muraoka is near-perfect. Long scrims set various moods, perhaps none more boldly than the suggestive ones hanging in Jud’s room.
Curly and Laurey stand on an abbreviated staircase, a cowboy Romeo and his gingham Juliet, without the tragedy. Though there’s violence ahead.
The set frames the action yet leaves plenty of space for big voices and vivid dancing.
One of the things that sets Central City’s rendition of “Oklahoma!” (which will be in Denver at DU’s Newman Center on Aug. 5 and 7) apart from other musicals staged in town recently is how diaphanous yet robust the ensemble sounds.
As for the song of the title, well, it’s rather glorious. The melding of guy and gal voices in “Oklahoma!” is goosebumps-making. The women’s trill finds support in the male ensemble’s muscular notes.
“Gosh, that’s beautiful,” I whispered, all awe and shucks.
Lisa Kennedy: 303-954-1567, lkennedy@denverpost.com or twitter.com/bylisakennedy
“OKLAHOMA!” * * * ½ classic musicalA Central City Opera production. Written by Richard Rodgers and Oscar Hammerstein. Directed by Ken Cazan. Featuring Maureen McKay, Matthew Worth, Curt Olds, Paul LaRosa and Kaitlyn Costello. Through Aug. 11 at Central City Opera House, 124 Eureka St., Central City. Thursday and July 21, July 27 and Aug. 3., 8 p.m. Also July 13, 31 and Aug. 10 and 11, 2:30 p.m.. Tickets $20-$116, centralcityopera.org or 303-292-6700. Aug. 5 and 7 at the Newman Center for the Performing Arts on University of Denver campus, 2344 E. Iliff Ave. $23-$78, via newmantix.com or 303-871-7720.
