STAGE WEST: "Oklahoma!" at Cygnet Theatre

Ariella Kvashny and Michael Louis Cusimano in "Oklahoma!"                              Karli Cadel Photography

            There must be musical-theater fans who’ve never seen “Oklahoma!” but you couldn’t tell by the audience at Cygnet Theatre. The place was dripping with nostalgic swoons and smiles during the first four songs of the show – “Oh, What a Beautiful Mornin’”, “The Surrey with the Fringe on Top,” “Kansas City” and “I Cain’t Say No.” By the time “People Will Say We’re in Love” came along later in Act One, the sentimental bonding in the room was palpable.
            Personally I was more sentimental about the Cygnet Theatre Old Town barn myself, which the company is departing from after the long engagement of “Oklahoma!” I know the environs will be newer and better in The Joan, Cygnet’s Liberty Station venue opening in September. But there was always something cozy about the Old Town space, even when Artistic Director Sean Murray was programming shows that weren’t necessarily cozy in themselves. I could go on and on about those and other productions I’ve enjoyed in Old Town, but that’s another story for another day.
            I guess “Oklahoma!” is a fitting closure to Cygnet’s tenure in the barn, being that it’s the kind of production where cowboy hats are di rigeur. I even saw a few in the audience.
            Do I really need to recount the story of Rodgers and Hammerstein’s’ first major hit? Curly courts Laurey with the menacing Jud Fry in their midst. Ado Annie “cain’t” make up her mind between suitors Will Parker and Persian traveling salesman Ali Hakim. Aside from some referenced tension (actually sung through in the second act number “Farmer and the Cowman”) between those who grow and those who punch cattle, that’s about it for “Oklahoma!” conflict wise.
            But its score is beloved, as is the show to so many. This is the third or fourth time I’ve seen “Oklahoma!” and I’ll probably remember Cygnet’s most.
            Given the size, or lack of it, in which to produce, Murray has staged this traditionally big show in the manner of last year’s wondrous “Natasha, Pierre and the Great Comet of 1812.” Actors enter and exit, and even perform, in the aisles; there’s no substantial set to speak of; lead Michael Louis Cusimano (Curly) accompanies himself on guitar much of the time.
            The result is an “Oklahoma!” directed by Murray that just feels more intimate, and it’s that intimacy with the characters that makes Cygnet’s production work so successfully, even though the running time is damned near three hours. (The first act alone, culminating with the show’s dream ballet sequence, is a long, long sit.)
            By the way that dream ballet, which was originally choreographed by the great Agnes de Mille for the 1943 staging of “Oklahoma!”, has been pared down from 15-18 minutes to about 10 at Cygnet. It’s still pretty riveting and, to my mind, the theatrical device that sets “Oklahoma!” apart from other musical theater works of its kind.
            Jill Gorrie manages the choreography in Old Town. Props to her. The dream ballet encapsulates in movement everything that’s preceded it, narratively speaking, to that point.
            A seven piece orchestra under the steady direction of Patrick Marion provides the live music; again, a lighter touch fitting of a small theater space.
             The presence of so many Cygnet familiars in the cast gives me the opportunity to reference some of my favorite performances given by them there: Cusimano (“Natasha, Pierre”); Ariella Kvashny as Laurey (“Evita”); Jacob Caltrider as Jud (“The Rocky Horror Show”); Manny Fernandes as “Pa” Carnes (“The Great Leap”); Linda Libby as feisty Aunt Eller (“Cabaret”). They’re outstanding in their own right in “Oklahoma!” Cusimano’s Curly is ideal. Kvashny brings a welcome independence to Laurey; Caltrider’s Jud is unnerving without being just a black hat.
            Cygnet newcomers Jazley Genovese, as Ado Annie, and Ricky Bulda, as Ali Hakim, provide the lion’s share of the show’s comedy, the former a force to be reckoned with in a green and white dress (part of designer Zoe Trautmann’s down-home costuming).
            I’ll admit to some fatigue by the time the production reaches its dramatic climax – I always thought it strange coming AFTER the rousing cast delivery of “Oklahoma!” These days in live theater three hours is a major commitment. But I was heartened by the presence of parents and a little girl sitting in the row in front of me. Not only did the child stay awake throughout the show but even late in the going she was on her feet, arms waving in time to the music.
            If that doesn’t prove “Oklahoma!” isn’t just a show for old folks, nothing does.
            “Oklahoma!” runs through Aug. 2 at Cygnet Theatre in Old Town.