`Oklahoma!’ enjoys a spirited revival

Next year, “Oklahoma!” will be 50 years old. For most musicals, that’s not a big deal, but, for this unfailingly optimistic allegory of American virtue, it’s sure to be a year of revivals. After all, “Oklahoma!” is considered the musical that changed musicals forever by dispensing with an opening chorus, and making a purposeful connection between score, libretto, and choreography. It also marks the first collaboration between Rodgers and Hammerstein, whose legendary association brought a new integrity and glory to the American musical.

Director Kenneth Stack and the staff at The Grand are getting a jump on this theatrical milestone with a down-home production that’s sure to keep you whistling the “Oh-klahoma” theme song well into the 51st year.

Tempting and fashionable though it would be to take a revisionist’s brush to this happily-ever-after canvas, Stack shows reasonable restraint without being too corny or quaint. He lets us see the forces that threaten the stability of these good-hearted frontier families — the villainous farmhand who scares the ingenue half to death, the unleashed desires of a girl who “cain’t say no,” and the nightmarish dream sequence which exposes the wily ways of the psyche.

But mostly Stack has an appropriately light touch, and keeps the spirits as high as an elephant’s eye with a uniformly credible group of actor-singers. He eloquently disperses this potentially unwieldy cast of 30 across the large stage, and creates more than a few moments of pure romance and hooting fun.

Lead sweethearts Dana Lazareth (as Laurey) and Steve Gormley (as Curly) take a real shining to each other — both musically and theatrically. Lazareth has all the pluck and smarts of a pioneer woman, and Gormley is a fine-and-handsome bronco buster.

Their scenes are filled with antagonism, humor, and, finally, tenderness. And you won’t find any better voices singing that most endearing of I-don’t-love-you-but-I-love-you love songs, “People Will Say We’re in Love,” and that ever-sweet “The Surrey With the Fringe On Top.” Their voices are also rousing leaders in the ensemble knock-the-roof-off finale of “Oklahoma!”

Peggi Parsley-Cole plays Aunt Eller, the show’s voice of wisdom and lawless reason. Her performance is reminiscient of Grannie on “The Beverly Hillbillies,” and, as such, is bubbly and bull-headed.

Francesca Jellison is giggly as the “purty” but promisicuous Ado Annie. What she lacks in vocal skill, she makes up for in sure-shooting slapstick, particularly in her scenes with David Closson, as the peddler Ali Hakim. As Will Parker, the wholesomely nerdy feller who wants to have Ado Annie for hisself, C. Shannon Phinney is jolly and lovable.

Michael Weinstein offers a pitiable and frightening Jud Fry, but has one of the funniest numbers, “Poor Jud Is Daid,” a black-humor duet with Curly (Gormley).

Musical director Stephen Norris leads an enthusiatic group of local musicians, and choreographer Mary Drew wins extra points for the amusing moves of a festive load of cowboys and farmers who knee-slap and high-kick their way across stage.

“Oklahoma!” will be performed 8 p.m. Nov. 13 and 14, and 2 p.m. Nov. 15 at The Grand. For tickets, call 667-9500 or 667-5911.