Oklahoma 2001
(by arrangement with Josef Weinberger Ltd)
Music By RICHARD ROGERS
Book & Lyrics By OSCAR HAMMERSTEIN II
Based on Lynn Riggs GREEN GROW THE LILACS
Director/Choreographer DENISE ROBINSON
Musical Director JOHN BIDDULPH
CAST IN ORDER OF APPEARANCE
| Aunt Eller | VERONICA BOULD |
| Curley | CHRIS WOLVERSON |
| Laurey | ALISON WILLIAMS |
| Will Parker | OLIVER PARISH |
| Ado Annie | GAIL HUTCHISON |
| Gertie | BECCI KILVERT |
| Jud Fry | PETER MORRIS |
| Ali Hakim | TIM JONES |
| Andrew Carnes | RON HUMPHREYS |
| Ike Skidmore | MICHAEL BLAND |
| Cord Elam | KIP BARRETT |
| Slim | ANDY POULTON |
| Fred | STAN TILL |
FARMERS,COWBOYS,TOWNFOLK, DANCERS ETC: PLAYED BY
Fiona Bingham, Sandra Birch, Jayne Blakemore, Jo Bolton, Liz Bolton, Chloe Burgoyne, Alan Compson, Mike Costello, Rebecca Davies, Carol Dicken, Tammy Dowen, Anne Duff-Cole, Chris Duff-Cole, Matthew Elson, Nick France, Chris Frost, Lyn Frost, Sue Harris, Charlotte Haughty, Stan Holmes, Ian Hunter, Sheryl Lea, Eric Page, Wendy Peterson, Carol Porter, Kimberley Robinson, Marcelle Rollings, Yvonne Salt, Gemma Sheild, Tracey Spencer, Amanda Stevenson, Holly Stringfellow, Maggie Thurgur Chris Walker, Jackie Watkins, Deborah Watson, Ray Whittaker, Ashley Wilkes
NON ACTING MEMBERS TO DATE
Claire Andrews, Jackie Andrews, Jean Beard, Ron Beard, Joyce Brookes, Lloyd Brookes, Dawn Corfield, Jenny Darlington, Barbara Devey, Simon Devey, June Evans, Lindsay Flavell, Lyndon Flavell, Joan Grice, Jerry Hobbs, Vicky Hughes, Nick Lester, Don McClay, Janet Molton, Mick Moreton, Rosemary Moss, Pauline Purshouse, Pascale Rollings, Peter Rollings, Becky Ross-Plummer, Michelle Rowden, Keith Rowley, Maria Shee, Graharm Tarbuck, Jean Wadsworth, Alison Walker, Doreen Whild, Linda Williams, Ruth Williams
LIFE MEMBERS
Chris Duff-Cole, George Ellis, Bob Frost, Jeanette Frost, Michael Kemp, Anne Palmer, Maria Robbins, Olwen Rowley, Maggie Thurgur
SYNOPSIS OF SHOW
After long and highly distinguished careers with
other collaborators, Richard Rodgers (composer) and Oscar Hammerstein
II (librettist/lyricist) joined forces to create the most consistently
fruitful and successful partnership in the American musical theatre.
Prior to his work with Hammerstein, Richard Rodgers (1902-1979) collaborated with the lyricist Lorenz Hart on a series of musical comedies that epitomized the wit and sophistication of Broadway in its heydey. Prolific on Broadway, in London and in Hollywood from the '20s into the early '40s, Rodgers and Hart wrote more than 40 shows and film scores. Among their greatest were On Your Toes, Babes In Arms, The Boys From Syracuse, I Married An Angel and Pal Joey.
Throughout the same era Oscar Hammerstein II (1895-1960) brought new life to a moribund artform: the operetta. His collaborations with such pre-eminent composers as Rudolf Friml, Sigmund Romberg and Vincent Youmans resulted in such operetta classics as The Desert Song, Rose-Marie and The New Moon. With Jerome Kern he wrote Show Boat, the 1927 operetta that changed the course of modern musical theatre. His last musical before embarking on an exclusive partnership with Richard Rodgers was Carmen Jones, the highly acclaimed 1943 all-black revision of Bizet's tragic opera Carmen.
Oklahoma!, the first Rodgers and Hammerstein musical, was also the first of a new genre, the musical play, representing a unique fusion of Rodgers' musical comedy and Hammerstein's operetta. A milestone in the development of the American musical, it also marked the beginning of the most successful partnership in Broadway musical history, and was followed by Carousel, Allegro, South Pacific, The King And I, Me And Juliet, Pipe Dream, Flower Drum Song and The Sound Of Music. Rodgers and Hammerstein wrote one musical specifically for the big screen, State Fair, and one for television, Cinderella. Collectively, the Rodgers and Hammerstein musicals earned 21 Tony Awards, two Pulitzer Prizes and two Grammy Awards.
Despite Hammerstein's death in 1960, Rodgers continued to write for the Broadway stage. His first solo entry, No Strings, earned him two Tony Awards for music and lyrics, and was followed by Do I Hear A Waltz?, Two By Two, Rex and I Remember Mama. Richard Rodgers died on December 3Q, 1979, less than eight months after his last musical opened on Broadway. In March of 1990, Broadway's 46th Street Theatre was renamed The Richard Rodgers Theatre in his honour.
Prior to his work with Hammerstein, Richard Rodgers (1902-1979) collaborated with the lyricist Lorenz Hart on a series of musical comedies that epitomized the wit and sophistication of Broadway in its heydey. Prolific on Broadway, in London and in Hollywood from the '20s into the early '40s, Rodgers and Hart wrote more than 40 shows and film scores. Among their greatest were On Your Toes, Babes In Arms, The Boys From Syracuse, I Married An Angel and Pal Joey.
Throughout the same era Oscar Hammerstein II (1895-1960) brought new life to a moribund artform: the operetta. His collaborations with such pre-eminent composers as Rudolf Friml, Sigmund Romberg and Vincent Youmans resulted in such operetta classics as The Desert Song, Rose-Marie and The New Moon. With Jerome Kern he wrote Show Boat, the 1927 operetta that changed the course of modern musical theatre. His last musical before embarking on an exclusive partnership with Richard Rodgers was Carmen Jones, the highly acclaimed 1943 all-black revision of Bizet's tragic opera Carmen.
Oklahoma!, the first Rodgers and Hammerstein musical, was also the first of a new genre, the musical play, representing a unique fusion of Rodgers' musical comedy and Hammerstein's operetta. A milestone in the development of the American musical, it also marked the beginning of the most successful partnership in Broadway musical history, and was followed by Carousel, Allegro, South Pacific, The King And I, Me And Juliet, Pipe Dream, Flower Drum Song and The Sound Of Music. Rodgers and Hammerstein wrote one musical specifically for the big screen, State Fair, and one for television, Cinderella. Collectively, the Rodgers and Hammerstein musicals earned 21 Tony Awards, two Pulitzer Prizes and two Grammy Awards.
Despite Hammerstein's death in 1960, Rodgers continued to write for the Broadway stage. His first solo entry, No Strings, earned him two Tony Awards for music and lyrics, and was followed by Do I Hear A Waltz?, Two By Two, Rex and I Remember Mama. Richard Rodgers died on December 3Q, 1979, less than eight months after his last musical opened on Broadway. In March of 1990, Broadway's 46th Street Theatre was renamed The Richard Rodgers Theatre in his honour.
REVIEWS
From the moment the MD raised his baton, this presentation
was a ‘wow’! An exciting and energetic set of principals,
headed by Chris Wolverson as “Curly”, “Laurey”
was delightfully played by Alison Williams. Gail Hutcheson sparkled
in her role as “Ado Annie” and, together with “Ali
Hakim” played by Tim Jones, utilised every humorous line to
full effect. Peter Morris made a menacing “Jud Fry” and
other notable performances came from “Will Parker” Oliver
Parish and “Aunt Eller” Veronica Bould. Attractive costumes,
good scenery, effective lighting and a fine orchestra made this a
truly memorable production.
Ron Hymes deputising for Jean Beard
Ron Hymes deputising for Jean Beard
EXPRESS & STAR, WOLVERHAMPON - OKLAHOMA REVIEW
"LAVISH MUSICAL SURE TO DELIGHT"
By Joe Sweeney
The highly acclaimed Wolverhampton Musical Comedy
Company can be assured of impressing theatre-goers this week with
this vobrant, largescale staging of the Rogers & Hammerstein classic.
Set against colourful sunsoaked scenery, the show's big numbers, Oh What A Beautiful Mornin', The Surrey With The Fringe On Top, People Will Say Were In Love and the title song itself, all performed impeccably by this multi-talented company.
A full supporting cast of male and female dancers use a variety of costume changes to give added magnitude to the songs throughout.
Be assured, no corners have been cut here and this is certainly one of Muscom's most lavish productions to date, played out with spectacular results.
Full credit must go to director and choreographer Denise Robinson for her sterling efforts here. The hard work has paid off, the dance sequences are all magnificently arranged and faultlessly executed.
Portrayals
Also, there are a host of finely-honed character portrayals from the lead players.
Alison Williams, making her debut with the company, is a delightful Laurey with a voice to match, while opposite her to the very capable Chris Wolverson gives a crystal clear vocal performance as Curley.
Other laurels go to Gail Hutchison for her deft portrayal of Ado Annie, Veronica Bould for her sassy drawling Aunt Eller and Peter Morris as a convicingly mean Jud Fry.
Without a question, a wonderful evening's entertainment, full marks for a very professional and well crafted production.
Set against colourful sunsoaked scenery, the show's big numbers, Oh What A Beautiful Mornin', The Surrey With The Fringe On Top, People Will Say Were In Love and the title song itself, all performed impeccably by this multi-talented company.
A full supporting cast of male and female dancers use a variety of costume changes to give added magnitude to the songs throughout.
Be assured, no corners have been cut here and this is certainly one of Muscom's most lavish productions to date, played out with spectacular results.
Full credit must go to director and choreographer Denise Robinson for her sterling efforts here. The hard work has paid off, the dance sequences are all magnificently arranged and faultlessly executed.
Portrayals
Also, there are a host of finely-honed character portrayals from the lead players.
Alison Williams, making her debut with the company, is a delightful Laurey with a voice to match, while opposite her to the very capable Chris Wolverson gives a crystal clear vocal performance as Curley.
Other laurels go to Gail Hutchison for her deft portrayal of Ado Annie, Veronica Bould for her sassy drawling Aunt Eller and Peter Morris as a convicingly mean Jud Fry.
Without a question, a wonderful evening's entertainment, full marks for a very professional and well crafted production.