Rodgers & Hammerstein’s ‘Oklahoma!’ in Concert- Terrific!

By Alix Cohen

Oklahoma! redefined the American musical by fully integrating songs, dances, and story into a unified dramatic whole. Richard Rodgers first collaboration with Oscar Hammerstein II, it premiered in 1943 and ran 5 years, shifting Broadway away from loosely connected musical numbers toward character-driven storytelling that explored community, identity, and moral conflict.

The show’s success set a new standard for musical theater influencing generations of composers and playwrights who followed. Agnes de Mille’s Dream Ballet, almost 15 minutes long, was a revolutionary inclusion.

Tonight’s sold-out audience (every balcony full) is predominantly older, though I’m pleased to observe young people in tow. Having seen several iterations, most of us think of the musical as an old friend. Some attending might have been at the original production. Nostalgia fills the venue. Concert goers mouth lyrics.

Nothing beats the thrill of a live overture, especially the lush, melodic work of Rodgers and Hammerstein. Down the center aisle, at first singing “Oh What a Beautiful Mornin” a capella, saunters Curly McLain (Emmett O’Hanlon). Ideally cast, the handsome actor has a gorgeous, resonant voice and the hint of a swagger. Portrayal is nuanced.

Aunt Eller (the reliably excellent Ana Gasteyer) greets her niece’s suitor with palpable warmth. She’s clearly bemused about their ersatz oil-and-water conduct throughout. “Oh, I thought you were somebody,” soprano Laurey (Micaela Diamond) says to the cowboy. Diamond is credible and sympathetic.

To spite Curly, Laurey accepts an invitation to the Social from farmhand, Jud Fry (Jonathan Christopher) immediately regretting it. Fry is obsessed with the young woman and somewhat frightening. The actor could go darker. Meanwhile Gertie (Katy Geraghty, whose bubbly, exaggerated laughter should be bottled and sold) has her sights set on Laurey’s love.

Curly goes to see Jud in the smokehouse where he lives encouraging suicide, painting a glorious picture of his finally being appreciated when dead: “Poor Jud is Daid.” The duet is potent.

Will Parker (Andrew Durand) returns from the rodeo a winner, dazzled by what he’s seen. “Everything’s Up to Date in Kansas City”
is high spirited. The ranch hand has spent $50 he needed to secure permission from her father (the always welcome David Hyde Pierce) to marry Ado Annie. He’s filled a bag with gifts, no longer in possession of cash. Durand’s Parker is sweetly besotted in an
oh gosh kind of way, but not a pushover. ‘Well played.

Jasmine Amy Rogers, who made a splash as Broadway’s Betty Boop, creates a similar, though countrified character in Ado Annie. She swishes, sashays, and wriggles, bright-eyed and innocent. “I Cain’t Say No” arrives well phrased and believable. Swayed only by the man whose attention she currently receives, Annie has been spending time with peddler, Ali Hakim (Parvesh Cheena) He has no intention of marrying her, of course, and has to squirm out of it without being obvious.

“It’s a Scandal! It’s An Outrage”, in fact a weaker number, was cut from the 1955 film version but intermittently shows up onstage. “It’s getting so you can’t have any fun/Every gal has a father with a gun!” sings Ali Hakim and the chorus. (He later faces such a barrel and marries Gertie.)

A decision-aiding elixir is sold to Laurey by Ali. It provokes the ballet sequence we hear as a lavish instrumental. Orchestrations are wonderful.

You know what ensues. There’s more droll misconnection within the Annie, Ali, Will triangle. Laurey fires Jud who threatens her. Laurey and Curly admit their feelings and wed, but Jud shows up with a knife. Avoiding a choreographed struggle and necessary blood, he and the hero fight offstage. A kangaroo court finds the new groom innocent minutes before he leaves on his honeymoon.

The robust “Oklahoma”: “O-K-L-A-H-O-M-A” sums up resolution: the territory proud and ready to become a state, truce between farmers and cowboys (rose colored glasses), and happy romantic pairings. Audience should’ve been invited to join the song’s second chorus.

A single script issue is lack of explanation of ‘The Little Wonder.’ The picture-peeping toy has a hidden, spring-loaded blade inside. When a victim looks through the eyepiece, the device springs a blade, stabbing the holder in an eye. Ali, and oddly Will, who knows better, sell the toy to Jud who attempts to use it on Curly. We watch the failed attempt but never hear of the danger.

What was and is considered by many sentimental reflects an honesty of storytelling and important values we seem to have lost. The production is marvelous.

Director Shuler Hensley evinces distinctive character with every featured actor. Facial expression is as telling as dialogue. Thespians evocatively move through the orchestra and up the aisles. Couple chemistry is apparent. Chorus assembles in groups with compositional appeal. Enthusiasm is irresistible. Accents are grand.

Choreographer Chase Brock manages to evoke the lively work of the late, great Agnes de Mille in limited, obstructed space.
Sound Design (Scott Lehrer) is pristine from everywhere.
Costume Coordinator (likely from actors’ own closets), Carmella Lauer, lets the orchestra winningly dress in country casual. She twice misses: Jud Fry’s t-shirt is fuchsia reflecting modernity and flamboyance. Laurie has time enough to change into a dress before the Social, but remains in overalls.

Called out songs are not the score in its entirety.

Photography by Rebecca Michelson
Opening:Emmett O’Hanlon (Curly McLain) & Micaela Diamond (Laurey Williams)

United in Sound: America at 250 presents
Rodgers & Hammerstein’s
Oklahoma! in Concert
Music-Richard Rodgers; Lyrics- Oscar Hammerstein II
Based on the play Green Grow the Lilacs by Lynn Riggs
Orchestra of St. Luke’s- Rob Berman- Music Director/Conductor
Carnegie Hall January 12 2026
Carnegie Hall Events: https://www.carnegiehall.org/Events