Gary Wilmot is a bit like a nostalgic musical bus - you don't see him for years and then he's back treading the boards in Nottingham twice in just over a year. The last time was in Don Blacks Songbook, this time around the seemingly ageless entertainer was headlining Rodgers and Hammerstein's Oklahoma at the Theatre Royal Nottingham.
Wilmot provides a comic element to the show as tartan suited, sharp talking salesman Ali Hakim, which sees the blending of Rodgers' musical comedy style with Hammerstein's innovations in operetta which produced their first musical together, it was also the first of a new genre - the musical play, historians later using the piece as a milestone - before or after Oklahoma.
An outstanding performance from Belinda Lang as feisty Aunt Eller is at the heart of the piece, while Lucy May Barker has great stage presence as the gal who just 'cain't say no', Ado Annie Carnes. The real stars of the show however are Ashley Day as charismatic, rugged cowboy Curly McLain and Charlotte Wakefield as farm girl Laurey Williams, each great performers individually, together they have real chemistry and sing and dance the score to perfection.
Set in Oklahoma Territory just after the turn of the twentieth century, the iconic story, which became an Academy award-winning film in 1955, tells the tale of two sets of star crossed lovers. We begin with good guy Curly awandrin' into Laurey's yard looking forward to the day ahead, cheesier than a Wotsit as he sings the classic 'Oh what a beautiful morning', sowing the seed of a light hearted western romp. However, this plot-driven musical can really be quite dark at times as Curly suggests to his rival (the baddie of the piece, the menacingly creepy farmhand Jud Fry, sinisterly played by Nic Greenshields) that he hangs himself to the tune of ‘Pore Jud is Daid'.
On the whole though, this colourfully revived production, under the direction of Rachel Kavanaugh, has the same genuine feeling of warmth to it that you might get from an old classic. Francis O'Connor’s set ingeniously transforms the stage with the assistance of a cow shed, wooden carts and hay bales into an authentic wild west that will make you yearn for the days of the American Adventure theme park.
Choreography by Drew McOnie suits the rousing score with a highlight being the ballet dream sequence - it draws to a close an overly long Act 1, but the precision and creativity shown as Laurey struggles with her feelings is at times breath taking, the large cast being used to glorious effect. Act 2 is a more refreshing affair and as foot-stompingly feel-good as the day it was written.
If you like fast-moving modern musicals you might find Oklahoma a little slow on the draw, but if you’re a fan of rooting shooting musical nostalgia, or desperado for a bit of romance and old school charm, then it will be right up your Western Boulevard.
Oklahoma runs at Theatre Royal Nottingham from Tuesday 28 April to Saturday 2 May. You can buy tickets here.
Theatre Royal Nottingham website
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