Oklahoma - More Than Twee Lyrics

A rancher from America's Horse Whisperer state, Montana, once told me that his homestead was only a 'ranchette' because it was just 200 acres. To this wide eyed 'Colonial' that sounded a helluva lot bigger than Yeadon Dam in Leeds, and a tad more sizeable than my 'back yard'!

However, it does explain the cultural chasm that so often exists between two countries that claim to speak the same language. Imagine, for a minute, how much wider that gap must have seemed in the early 1940's, when the nearest the average Brit came to an American was one of the many GIs stationed across its shores in the run up to Churchill's planned assault on mainland Europe.

Consequently, when Rodgers & Hammerstein picked up their pens to flesh out the beginnings of their smash hit, Oklahoma, they had to explain the expanse of their homeland to a world that had little knowledge of the USA. Their lyrics said it all: "The corn is as high as an elephant's eye, and it looks like it's climbing clear up to the sky."

And, this week, it's back at Bradford's Alhambra in all its foot tapping glory with a beautiful, pop up storybook set that immediately transports you back to Dust Bowl America.

We look now and simply 'enjoy' this lovely musical but, forgive me, if I sound a little sarcastic, it's because I am being! That's because Oklahoma is worthy of more than passive applause.

In 1943 it was a real ground breaker, part of a new genre of musical plays which, in this instance, really did tell the story of the 'Sooner State' when settlers, under the Army officer's starter gun, were allowed to charge off on horseback and stake their land claims. Those who went before the shot was fired, the (too) sooners, very often copped their lot! So, whilst lyrics in certain parts of the show may seem twee, Oklahoma actually has deeper political overtures in its lyrics that describe the realities of a period in American history: "The Farmer and the Cowman Should Be Friends'. As for cowboys: "Don't treat him like a louse, invite him into your house." It was a way of saying 'we're in this tough life together guys.' Up to then musicals did not have this deeper form of storytelling.

And so often there is pure joy in Rodgers & Hammerstein. Their work's been around a while which means you have heard all their songs before and, quite frankly, it's comforting listening to something you grew up with, a musical that ain't Footloose, Fame or Rocky Horror!



And thank God for Arts Educational and the likes of Laine Theatre Arts, two of the southern performance schools that continue to put so many 'all-rounders' onto the UK stage.

This was a solid production, vibrant and energetic with some excellent, well performed characterisations, Ashley Day as the dreamy, melodic Curly the cowhand, besotted with his hard-to-get girlfriend, Laurey, played equally innocently by Charlotte Wakefield. Nic Greenshields as Jud Fry was not only physically big but also suitably unbalanced and nasty.

And obvious though it may seem, I loved the fact that the various performers stayed in character when they sang. So often people with rich regional accents - American or English - suddenly turn on the Julie Andrew diction when they burst into song, which is almost as absurd as singing about corn and elephants eyes I suppose!

Gary Wilmot as Persian pedlar Ali Hakim was about as Persian as a prize moggy which, sadly, was a missed opportunity because I have seen Ali Hakim played brilliantly many times. Where was the accent, the gestures, the OTT fun that can be had with this comedy part? Not with Mr Wilmot I'm afraid; it was as if he hadn't been fully directed. Another name imported in the name of boosting ticket sales? Probably!

Oklahoma is a big show abut big issues and if I have one observation - less a criticism - it was the 10 piece orchestra and the relatively small cast. The closing number should blow your socks off but it didn't, not because the music was bad or the cast was weak.....there just weren't enough people or musical instruments to carry this belly busting title number.

But, then again, there's the problem of budgets. The top level amateur casts can put 60 people on stage and, when they sing with up to 20 orchestra musicians, that really does knock you out of your seats.

But musicals are expensive to stage. Maybe we should get the producers to drop their margins a little so that we can get a few more pipes on the boards and a few more strings in the orchestra. It's time I had my socks blown off, they're beginning to hum!

Until Saturday 18th April 2015.