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Post by theatrebee on May 22, 2022 12:31:15 GMT
I could not stand it. I haven't seen the traditional staging or the movie and made sure not to read anything about the story either so I'd hear it for the first time. Knowing it was done concert-style and not like a traditionally staged musical, I was slightly disappointed even before I went in. I liked the songs but found that the pace of the story was excruciatingly slow, and the concert-style setting did not hold my attention for very long. The story itself seemed to lack depth; I don't know if the fault is in the writing itself or it's just the current production.
In the beginning the actors all looked so intriguing, their facial expressions had an enigmatic, almost inscrutable quality, and so I kept waiting to see some substance or depth or real conflict that went beyond inane bickering, but no such thing ever came. The blackout scene - well I'm still not sure what I'm supposed to take away from it. If anyone could explain to me how that was supposed to contribute, I'd be happy to hear it - I really can't figure out what I'm missing here.
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Post by callum on May 22, 2022 13:02:14 GMT
Enjoyed this a lot on Friday. Firstly the deconstruction of Curly - not seen any film or production of Oklahoma before but presumes he’s normally depicted as the traditional hero. Here, he comes across as an arrogant bully who feels entitled to claim Laurey as his own, with the blackout forcing the audience to listen to his tormenting of Judd.
Equally Judd comes across as a disturbing incel - and the second blackout perhaps alluding to Judd raping Laurey. Then, Curly uses this to take advantage of Laurey and propose to her when she’s most vulnerable.
These are Laurey’s two choices - a pigheaded bully or creepy weirdo. The only time when she can escape either of them is at the end when it’s possible for Curly to be imprisoned for Jude’s murder.
However - for me - Aunt Eller comes across as the ultimate villain of the piece when the trial results as a sham at her insistence. She condemns her niece to a life in a loveless marriage… why? Perhaps because it’s the life she never had as a spinster, or she uses her position as a woman to reinforce the gender structures that always result in a woman ending worse off. Either way, Laurey begins her married life literally covered in the bloodshed of male violence.
Lots of things didn’t work but so what? Two years ago we thought we’d never be back when we were locked indoors, so very happy to spend 15 mins watching interpretative dance - simply because it’s batsh*t crazy performance!
This production shows theatre is still alive!
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Post by dinah on May 22, 2022 16:49:06 GMT
Long time lurker on the forum, first time poster!
I've been following this version of Oklahoma ever since it was announced to go to Broadway and have listened to the cast recording countless times in the past few years. Finally got the chance to see the show last night and it was everything I hoped it would be. Cast were all fantastic, standouts for me were James Davis and Marisha Wallace. I was slightly worried that no one would be able to live up to Damon Daunno's vocals but Arthur Darvill was great.
I think that being very familiar with the original musical might have helped me to enjoy the reinvention more - I went with someone who was pretty unfamiliar with the show and who left feeling that there wasn't much to the storyline or the characters which I disagreed with.
The only part of the show I didn't particularly enjoy was Aunt Eller's character who I also thought came out as the biggest villain of the piece. I'm not entirely sure why but something about the characterisation didn't really work for me, and the relationship between her and Laurey felt very strange.
Despite this, definitely a five star show for me. For what it's worth, I bought my ticket before having a seat allocated and ended up back row of the side stalls which had a great view, and where we ended up getting sprayed with whatever was in those Bud Light cans!
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Post by BurlyBeaR on May 22, 2022 16:54:26 GMT
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Post by matty on May 31, 2022 9:22:18 GMT
Well apart from that god awful dream ballet (which made no sense where it was placed), I really enjoyed this last night.
Marisha Wallace and James Davis were the real standout performances, but I thought the whole cast was great. I haven't seen Arthur Darvill on stage before, but thought he did really well as Curly.
Really pleased I got to see this. My inly gripe was that it started 10 minutes late and then the interval ran slightly long, which normally is fine, but when it's a 3 hour show that starts at 7.30, is just a bit much. Especially when you then get stuck behind slow people trying to leave the building.
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Post by anthony40 on May 31, 2022 9:26:08 GMT
After ABBA'S Vogage concert experience last night, I am here tonight.
Ant's gonna be one tired little guy tomorrow let me tell ya!
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Post by sam22 on Jun 3, 2022 16:46:33 GMT
Apparently cancelled tonight?! No details yet
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Post by thistimetomorrow on Jun 3, 2022 17:00:39 GMT
I really really enjoyed this. I'm not familiar with a more traditional staging and maybe I had a better time because I was sat on the table seats on stage and felt more part of the action, but I thought everything (bar the dream ballet) was amazing. I've been a fan of Anoushka Lucas for a while (since JCS Regent's Park) and I also really liked Patrick Vaill's Jud. I'm not sure what to take from the dream ballet sequence because I quite enjoyed Carousel's Louise Ballet sequence, but I guess the latter felt like it served more of a purpose than this one.
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Post by fiyero on Jun 3, 2022 18:21:37 GMT
Apparently cancelled tonight?! No details yet Confirmed Gutting for those who were going tonight when the rest of the run is sold out! (And the cast of course!)
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Post by LaLuPone on Jun 3, 2022 19:24:20 GMT
Do they not have any understudies? I was just thinking there weren’t any listed in the programme, and no extra company members besides main cast.
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Post by FrontroverPaul on Jun 4, 2022 0:18:07 GMT
Do they not have any understudies? I was just thinking there weren’t any listed in the programme, and no extra company members besides main cast. We had £10 Lucky Dip tickets for Monday this week (and were VERY* lucky with the seats we got). I was chatting to the usher while awaiting 19.29 when we were to be allocated seats or standing and he said they have no understudies. I asked what would happen if someone was absent and he replied they would probably have to cancel.... * We entered the Young Vic on Monday early at 19.00 - tickets stated 19.20-19.30 entry time - as there was heavy rain at the time and were directed towards the bar to wait. There was another man already there. It turned out we should have gone through one more door. By the time we realised there were two young ladies in front of us. I felt slightly peeved when they got seats in stalls row B but we were allocated two just as good in row D. The two ladies had just sat down when the people who had booked those seats arrived and they had to move. They ended up standing which could so easily have been us. My understanding is that they sell 14 lucky dip tickets @ £10 for each performance. 7 people are allocated to each side of the auditorium. The lucky dips only guarantee a standing position and all seats are sold so if everyone turns up I assume all 14 lucky dippers have to stand and that's pretty high up. On Monday I think only the two unlucky ladies didn't get seats. { Seen this Oklahoma! twice and we have one further booking in a fortnight's time. I'm going to contact the Young Vic offering to return the two tickets if that allows a couple of people who have lost out tonight to see the show, though hopefully they'll put on an extra performance or two for all affected.}
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Post by Dr Tom on Jun 4, 2022 7:34:28 GMT
I did lucky dip as well as couple of weeks ago. First in the queue and got given a printed ticket at about 7:25pm, which was the second (back) row at the band side, but not restricted. An excellent view. First time as well where I've ever received a ticket rather than having to wait until just before the show started. Presumably not sold out that night, or a house seat they'd held back.
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Post by FrontroverPaul on Jun 4, 2022 8:30:19 GMT
I did lucky dip as well as couple of weeks ago. First in the queue and got given a printed ticket at about 7:25pm, which was the second (back) row at the band side, but not restricted. An excellent view. First time as well where I've ever received a ticket rather than having to wait until just before the show started. Presumably not sold out that night, or a house seat they'd held back. Yes I think that was the difference, it was sold out on Monday and we weren't given printed tickets, they shut the doors at 7.28 and were shown to our seats at 7.29, end of row D, band side by a performer entry door. Seconds later another door was opened, two people entered with a different usher and the two young ladies moved. I wonder what would have happened if they had refused ? My other booking is in row C which as I recall was sold at a significantly lower price than A, B or D. I tried to work out why, as it doesn't seem any different to B or D. I'm only going to offer back my tickets if they tell me there's a waiting list of people from the cancelled performance as I would like to see it once more, mainly for Marisha Wallace who's the star of the show in my eyes. ( she's in concert with Collabro outdoors at Tonbridge Castle on Sunday 10 July, really looking forward to that one )
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Post by foxa on Jun 4, 2022 11:26:21 GMT
Thought this was a real mixed bag BUT it was one of my first times back in a theatre (we were at a socially distanced performance) and I was engaged throughout even if I was was bit 'heh' about some of the choices (the dream ballet?) But there was so much interesting rethinking of such a well known musical while still being able to enjoy the brilliant songs, I was 4* happy. Mr Foxa was slightly outraged by the ending.
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Post by anthony40 on Jun 4, 2022 16:14:15 GMT
Saw this on Tuesday night. For me the stand out performances were Stavros Demetraki as Ali Hakim and Marisha Wallace as Ado Annie were outstanding.
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Post by nottobe on Jun 5, 2022 11:07:28 GMT
I saw this last night and it was a very mixed bag. I know the show quite well but was excited to see it reimagined as loved Carousel at Regents Park last year. I thought the first act was brilliant and had great pacing as well staging. Was not a fan of the black out section as it made me lose focus on what was being said and just worry about being in the dark, but other than that the first act was great. Then the second half happened. The interval lasted longer than it should have due to a tech issue which I didn’t find too bad but maybe it caused a pacing issue in the second half. The dream ballet was awful and did not make any sense in this version and would have been better going straight into the barn dance. This seemed to Ben the start of the downfall for me as the rest of act two just dragged and all felt overlong. In the end I didn’t care about any of the characters and it just felt drawn out.
I’ve never had this sort reaction to a show before of loving act one and disliking act two and am still trying to work out what changed. The cast are all uniformly brilliant and think it is down to the direction.
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Post by Someone in a tree on Jun 5, 2022 12:44:27 GMT
Dream ballet aside I generally loved this. Act 2 brilliantly hits you in the stomach.
*****
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Post by FrontroverPaul on Jun 5, 2022 14:49:23 GMT
In the traditional Oklahoma! staging Jud Fry's death isn't really caused by Curly - he falls on his own knife - and it's arguable whether Curly had a case to answer even as self defence.
In this version Curly shoots Jud in cold blood and there's no way that could be argued as self defence yet the impromptu trial proceeds in the same way with the same verdict.
I felt that was an unwarranted change and it didn't even seem to follow events in the dream ballet(though I have to confess I momentarily nodded off during that longgg dulll bit so may have missed something)
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Post by BurlyBeaR on Jun 9, 2022 12:35:59 GMT
What is the meaning/purpose of the lighting change in Surrey With A Fringe On Top?
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Post by Rory on Jun 9, 2022 12:52:12 GMT
Enjoyed this a lot on Friday. Firstly the deconstruction of Curly - not seen any film or production of Oklahoma before but presumes he’s normally depicted as the traditional hero. Here, he comes across as an arrogant bully who feels entitled to claim Laurey as his own, with the blackout forcing the audience to listen to his tormenting of Judd.
Equally Judd comes across as a disturbing incel - and the second blackout perhaps alluding to Judd raping Laurey. Then, Curly uses this to take advantage of Laurey and propose to her when she’s most vulnerable.
These are Laurey’s two choices - a pigheaded bully or creepy weirdo. The only time when she can escape either of them is at the end when it’s possible for Curly to be imprisoned for Jude’s murder.
However - for me - Aunt Eller comes across as the ultimate villain of the piece when the trial results as a sham at her insistence. She condemns her niece to a life in a loveless marriage… why? Perhaps because it’s the life she never had as a spinster, or she uses her position as a woman to reinforce the gender structures that always result in a woman ending worse off. Either way, Laurey begins her married life literally covered in the bloodshed of male violence.
Lots of things didn’t work but so what? Two years ago we thought we’d never be back when we were locked indoors, so very happy to spend 15 mins watching interpretative dance - simply because it’s batsh*t crazy performance!
This production shows theatre is still alive! Really enjoyed your review which illuminated what I saw yesterday. Overall I liked it a lot and thought that Marisha Wallace, Patrick Vaill, James Davis and Stavros Demetraki were the standouts for me. Have to be honest, I didn't understand the purpose of the dream ballet at all, can someone please enlighten me?
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Post by Jon on Jun 9, 2022 14:03:22 GMT
I always assume dream ballets were a way to give actors a bit of a break from singing.
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Post by oxfordsimon on Jun 9, 2022 18:34:24 GMT
They are certainly a throwback to the 19th century Grand Opera tradition of extended ballet sequences. This certainly was an influence on operetta of the same period which then influenced many of the early creators of what we now know as musicals.
So many US composers and lyricists were from immigrant families that it was inevitable that they drew on the traditions of the music that was part of their heritage.
In some of the really big operas of the 19th century, the ballet was there to provide spectacle and drama. No doubt it also gave the singers a rest. When you are doing a 4 hour opera, having a break in Act 3 would be very welcome.
Of course in musicals the singers are often expected to be part of the extended dance sequences so they don't benefit from the break!
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Post by anthony40 on Jun 14, 2022 11:03:40 GMT
I saw this about two weeks ago and have been thinking about it ever since. Whilst Oklahoma! (clearly) works as a show- look how long it’s been around- whilst there some stand out performances, for me, as a whole, this production didn’t work.
I get it; it was stripped back, it had lost most of its ensemble but it was just lacking… something!
Firstly, Arthur Darvill as Curley. I have seen this guy in a few things, he’s the first Curly I’ve seen who didn’t actually have curls.
The character is named because if his curls.
I didn’t like the sexualising of Will Parker. On several occasions this guy was up on a table thrusting his groin. James Davis certainty captured that Will Parker wasn’t the smartest cowboy but for me, over sexualising the character didn’t work.
Whilst the whole scene between Curley and Jud Fry is necessary, it’s never a comfortable watch because you as the audience are on the side of the hero- Curley and in this scene we learn what type of man Jud Fry is and the menace he could potentially be.
In this production, the fact that the lights were turned off with a camera in their face I found both unnecessary and distracting.
The dance was completely out of context and (again) unnecessary.
For me, the two stand out performances were from Marisha Wallace as Ado Annie and Stavros Demetraki as Ali Hakim
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Post by theatrekiwi on Jun 20, 2022 13:53:31 GMT
Just received a message that the performance I had tickets for tonight is cancelled. Checked the Young Vic Instagram which is saying that performances today and tomorrow are cancelled due to illness.
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Post by Dr Tom on Jun 25, 2022 20:17:20 GMT
Excellent muck-up matinee today with everyone of form and having a lot of fun (the show didn't finish until 17:50).
They've added a new preshow element where a cute male usher reads erotic cowboy fiction to the audience (ok, to be fair, that was mainly just for the Lucky Dippers - we did all get found excellent seats too).
Arthur Darvill was on top form. Lots of vocal riffs and jamming with the band for extended versions of songs.
The cast got the normally perfectly composed Patrick Vaill to burst into laughter multiple times.
There were small changes throughout, but most of the joking around took place during The Farmer and the Cowman. Arthur soaking the crowd with "beer" (just missed me). Liza Sadovy (Aunt Eller) getting carried away and kissing many of the male cast, the cast having cooked corn to eat and chew on, there was a lot more.
A really enthusiastic crowd too, with extended clapping and even adding applause to songs that don't normally receive it.
Disappointed I couldn't make the closing show tonight, but I'm sure it will be excellent. Thankfully, I was given a very strong hint that this is due to transfer (fingers crossed).
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Post by thistimetomorrow on Jun 25, 2022 22:17:45 GMT
Excellent muck-up matinee today with everyone of form and having a lot of fun Oh so gutted to have missed this! Would have loved to see the show a 2nd time before it closed, but definitely keeping my fingers crossed for a transfer.
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Post by Rory on Jun 25, 2022 23:10:37 GMT
Wonder where this is transferring to? My guess is the Noel Coward.
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Post by barrowside on Jun 26, 2022 11:00:42 GMT
Will it be going into a conventional proscenium format if it transfers or will the theatre be adapted?
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Post by Jon on Jun 26, 2022 11:25:15 GMT
My suggestion for any transfer is Nimax's new theatre.
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Post by juicy_but_terribly_drab on Jun 26, 2022 12:41:32 GMT
I saw the matinee yesterday and loved it more than I thought I would honestly, all the directorial choices worked for me and I wasn't expecting that (well I guess except the dram ballet since I just really don't know what they were going for but I knew that going in so I could enjoy the music and choreography for their own sake rather than trying to find some narrative relevance beyond those very final moments with Just).
As far as a transfer goes I hope they retain the current set up. For as divisive as this show already is, I have only heard it's even worse with the US tour which restages the show for a proscenium arch. I've basically read no positive responses and lots of people remarking on the number of walkouts too. Even having loved the show I can't imagine myself enjoying it like that. Most of the choices feel so wholly designed around the audience effectively being on stage and part of the show - keeping the stage lights up the whole show, the blackouts, the projections, the audience interaction - I can't picture any of that would work properly in a traditional set up.
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