Review: OKLAHOMA!, Young Vic Theatre
Photo Credit: Marc Brenner
As we sit down to write this review, mere hours after processing this revival of Oklahoma, we struggle to find the words to fully describe what you'll experience at the Young Vic Theatre whilst watching this production. As much as the performers and creative team have walked a tightrope putting this together, we must now walk the tightrope of reviewing the piece...
Firstly, this is not what you will be expecting. Whatever you think you know about Oklahoma, this production twists it in such a shocking and raw way, you are left in your seat not quite sure how to react but, in the best way possible, this golden age musical is exposed for what it is at its core as a dark and complicated cautionary tale of love, sex and toxicity.
The cast must be commended on their ability to, while sharing this story completely authentically, portray the sense that the entire company, creative and producing team included, dislike the source material and almost look down upon it. This production revels in being an uncomfortable watch, and it provokes and challenges the audience in quite a remarkable way.
While there are moments of comedy, directors Daniel Fish and Jordan Fein have created a sense of tension that never really leaves the space. Actors balance on an incredibly fine line as they navigate this difficult story. The pace is slow and allows for audiences to truly scrutinise this work and make judgements upon it based on how we live today - do we think we are better than this? Or is it an echo of how we live now?
Set designers Laura Jellinek and Grace Laubacher have created a space unlike any other. With plywood covering every inch of this reimagined Young Vic auditorium, you truly feel as if you are right there with the performers. This perhaps joins Cabaret in its truly immersive nature, with cast members sharing tables with the audience and acknowledging them as another character and element to the show. When this is paired with Scott Zielinski's genius (we don't use that word lightly) lighting design, it creates something really special. Be sure to prepare to be plunged into *absolute* darkness and be bathed in true brightness as light and its uses become yet another character, further enhancing the action and involving the audience. We are sure to be seeing Zielinski up for an Olivier this season.
Within the cast, Arthur Darvill (Curly McLain), Anoushka Lucas (Laurey Williams) and Patrick Vaill (Jud Fry) create the most uncomfortable yet compelling love triangle. Their chemistry, or lack thereof, is electric. What's also important to note is that it's almost as if they are able to distance themselves from their character in such a way as to allow valid and acceptable judgement from the audience; the (extremely necessary) nuance here is incredible and ought to be applauded.
Providing the much-needed light relief (yet still through the veil of uncomfortable context) are Marisha Wallace (Ado Annie), James Davis (Will Parker) and Stavros Demetraki (Ali Hakim). These three are able to power through scenes of high energy and give a sense of relief from the taxing nature of the rest of the production. Wallace is, of course, a joy to hear sing and does not disappoint with her rendition of ‘Cain't Say No’.
While this is an uncomfortable watch and is in no way suitable for children, it is a necessary one. and will no doubt stay with audiences for a long time after leaving the venue.
**** Four stars
