You've been acquainted with someone for years. You think you know them. And then, after spending the evening together as usual, you find that they're not quite the same person you thought you knew.
Consider the same thing in theatre. Stages St. Louis closes its 2018 season with Oklahoma!, a show that first graced a stage during World War II. It's a perennial, one of the major assets in the Rogers and Hammerstein catalog. Many of us have seen it multiple times. And yet here's something new and fresh about our old acquaintance.
Maybe it's the intimate venue that pushes things along. We can really see these people in Oklahoma Territory in 1906 or so. Certainly part of it is the casting we can more appreciate with our proximity showcasing subtleties. Whatever it is, it works. In fact, it almost glows.
The eternal triangle is at the heart of things, with our heroine farmer Laurey being wooed by cowboy Curly and lusted after by Jud Fry, the farmhand on Laurey and her Aunt Eller's place. Laurey is both headstrong and playing hard to get, and declines Curly's invitation to the box social that night, since he waited until the last minute to ask her. Instead, she agrees to attend with Jud.
Blake Price and Sarah Ellis are Curly and Laurey, and it's easy to sense Laurey's gradual letting down of her guard. The chemistry between the two is palpable. David Sajewich's Jud is in some ways not as menacing as seen in other versions. But not broadly telegraphing his ill intent from start to finish gives depth to the character, in some ways making him more frightening yet.
Zoe Vonder Haar is Aunt Eller, wise and very funny, and well-delivered. The fun of watching her is only equaled by seeing Ado Annie, played by Lucy Moon, a young woman who's far too friendly for her and her would-be fiance, Will's (Con O'Shea-Creal) own good. She's become quite taken with Ali Hakim, the Persian peddler, another juicy role and one that Matthew Curiano makes the most of.
It is, of course, a wonderful score, and hearing Price and Ellis sing “People Will Say We're in Love” is a high point. Director Michael Hamilton gets the best out of all his cast and crew. Dana Lewis' choreography is a graceful bow in the direction of the original Agnes de Mille work. The set from James Wolk, including managing most of the famous surrey, even on this relatively small stage, charms. Most of Brad Musgrove's costumes are perfect, except for Laurey's overalls and plaid shirt in the opening scene – women weren't wearing them then, and the overall effect is a little too Daisy Mae. And speaking of Dogpatch, the Appalachian-esque accents early on seemed strange. It's easy to tell that Hammerstein was using what New Yorker he thought was the way country people in Oklahoma talked in terms of dialogue – the entire play is dated in many respects, like racial and gender cliches – but it's grating. (Besides, if one really wanted to be authentic, Eller's title would be pronounced “ain't”, not “ant”.) But minor complaints, to be sure, in a swell evening.
A lovely close to the season.
Oklahoma!
through October 7
Stage St. Louis
Robert G. Reim Theatre
111 S. Geyer Rd., Kirkwood
314-821-2407