The costumes and sets here are grittier and more evocative than the film, however still with colour and it's still appealing on the eye. The production is well photographed as well, it's never too stage-bound but at the same time it's not too cinematic. For a filmed performance of an opera or musical that is the right approach. Its style and how Trevor Nunn directed did remind me somewhat of Nunn's production of Porgy and Bess, considering how great that is this is very high praise. Stream It Or Skip It: 'Holiday Road' on Hallmark, Where Nine Strangers Come Together for an Unforgettable Christmas Roadtrip Jud was great. That voice...oh my gosh! Such a rich voice, it's like "Lonely Room" was written for him. And Aunt Eller....oh I looove Aunt Eller. She steals the show. She's perfect.

He is one of only 2 Americans contributing to this quintessentially American musical (though all American accents are impeccable, and it's refreshing that the script's phony country pronunciations have been pared down to an unnoticeable level). The other is the choreographer Susan Strohman, whose work here is joyous, spectacularly inventive, and (as in the case of the Act II opener The Farmer & The Cowman) electrifying. The dancing, & there's lots of it, conveys the galvanic energy of these very physical frontier folk. It's thrilling to watch the cast's highly skilled dancers doing numbers that build and build to an explosive rapture that makes you wish you could only be up there with them. As Aunt Eller, Maureen Lipman is tough, wry, funny, touching, wise -hers is the most captivating performance of Eller one can imagine. She is perfect. Mrs. Doubtfire’ Fans Psyched For A Potential Documentary Featuring The Late Robin Williams’ “Special And Magical” Improv ProcessThe decision to play Laurey (Josefina Gabrielle) as a shy tomboy in overalls, in contrast to the assertive, gingham-clad lasses we've seen in the past, is a wonderfully right one. The attraction between the lovely, thoughtful young girl and the radiantly confident Curly is palpable, and their different temperaments make the parries & shifts of their courtship utterly believable. This version has much to recommend it, but suffers from further stereotypes by foreigners of what the region it depicts was like. Some of the accents are atrocious ( born Oklahoman here.) The region portrayed is in fact lush and not barren. There's a limit to how much belief we can suspend when we're already asked to buy in to an orchestra and people breaking into song. I'm not literal-minded, but wish some of the casting were better (...if Will Parker says "bean" for "been" again...) Stephen Colbert Forced To Cancel 'The Late Show' This Week After Undergoing Surgery For Ruptured Appendix Available until the end of the weekend via this link (it's a bit hit-and-miss via mobile, we've found), the piece also stars Peter Polycarpou and Maureen Lipman, with direction by Trevor Nunn and choreography by Susan Stroman. Taylor Ann Green Confesses That She "Initiated" Kiss With Austen Kroll On 'Southern Charm': "I Caught Him Off Guard"

Among “Oklahoma’s” famous songs are “The Surrey With the Fringe on Top,” “People Will Say We’re in Love,” “Out of My Dreams,” “I Cain’t Say No,” “Oklahoma!,” and “Oh, What a Beautiful Mornin’,” perhaps Rodgers & Hammerstein’s most beloved creation.The expansive, dream-like sets are by Anthony Ward, who also designed the costumes. David Hersey is lighting designer, with John Owen Edwards as musical director. The original orchestrations are by Robert Russell Bennett, with additional orchestrations by William David Brohn and new dance music arranged by David Krane. R&H were never in Oklahoma, but Lynn Riggs was and the humor is very much in keeping with the spirit of the people. This gets a lot right (Gloria Grahame, Gene Nelson and, especially, Charlotte Greenwood, your line-readings are missed!), but there seems to be the most recompensatory joy in the enthusiasm with which this cast delivers. Anyway, what we have here is stage presentation reimagined for modern tastes. That means solving the integration of the songworld and the stageworld. The extras explain how this was nurtured, essentially by honing the show by forcing the actors to speak the lines. There's some clever thinking about the dances along the same lines. Alyssa Farah Griffin Defends Justin Timberlake Following Britney Spears' Explosive Abortion Claims On 'The View': "They Were Both In A Very Toxic Environment" Based on Lynn Riggs' Green Grow the Lilacs, Oklahoma!features music by Richard Rodgers andlyrics and a libretto by Oscar Hammerstein II. The classic score includes “Oh, What a Beautiful Mornin’,” “The Surrey with the Fringe on Top,” “People Will Say We’re in Love,” and the title tune.

Like Laurey, the portrayal of Jud has been rethought. He is still brutal, but you feel the wretchedness, the yearning for acceptance, behind the brutality. Shuler Hensley realizes this brilliantly.

Stream It or Skip It: ‘Faraway Downs’ on Hulu, A Laudable Expansion of Baz Luhrmann’s ‘Australia’ That Tries To Repair The Sins Of The Past I must say that as a fan of the Rodgers and Hammerstein movie musicals, I've always had a soft spot in my heart for Gordon MacRae and Shirley Jones in the screen versions of OKLAHOMA and CAROUSEL. MacRae had a fine baritone voice and Jones a clear, sweet soprano.

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