Last weekend Samford put on a vibrant and delightfully executed revival of Rodgers & Hammerstein’s “Oklahoma!”
“Oklahoma!” is double cast, with two actors portraying Laurey, Curly, Aunt Eller, Ado Annie, Will Parker, Gertie Cummings and Andrew Carnes in alternating performances. I attended the Friday night performance, seeing only one version.
The performance maintained the classical charm original to the musical and showed the intention and care due a story so special to so many.
From the opening notes of the show, Jackson Griffee, who played Curly in the Friday evening performance, and the Sunday Matinee, established a strong vocal foundation for the rest of the performance.
His performance was grounded, depicting Curly with warmth and charisma, allowing pieces like “Oh, What a Beautiful Mornin’” to feel genuinely optimistic, rather than overstated.
Opposite him, Abigail Petit as Laurey delivered a performance that gave the perfect amount of depth to her character. Her rendition of “Many a New Day” showcased her own technical abilities, as well as an expressive nuance, in making the character her own.
Yianni Rokas as Jud Fry delivered a more introspective performance, darkening the tone of the production. Using a rich lower register and deliberate pacing, his rendition of “Lonely Room” became one of the evening’s standout moments.
The ensemble, as a whole, contributed significantly to livening the show’s energy, particularly through the choreography by Scarlett Walker.
The dance sequences were dynamic and purposeful, blending a more traditional musical theatre style with intentional moments of heightened storytelling.
The dream ballet in particular was a highlight, with movement that clearly reflected Laurey’s internal conflict while staying cohesive and visually appealing. The cast handled the demanding choreography with impressive precision, creating sequences that were polished and alive.
Equally impressive was the set design by David Glenn which made effective use of the larger Wright Center stage to evoke the expansive Oklahoma landscape.
The transitions between scenes were smooth and unobtrusive, and the story flowed without interruption.
The use of layered elements and subtle lighting shifts helped establish intimacy and intensity, when necessary, particularly in moments like the box social and the final confrontation.
Costume design by Mallory Hubbard further livened the production and grounded it in its setting with period-appropriate pieces that also allowed for movement and character distinction.
The intentional color and style of both the lead cast and the ensemble’s attire created a cohesive visual world that supported the storytelling without distracting from it.
Overall, Samford’s “Oklahoma!” was a strong and engaging production, marked by standout vocal performances, cohesive choreography and thoughtful design elements.
It honored the traditional roots of the musical while still giving the story life, making it a memorable experience for its audience.
Staff Reporter
