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Classic Musical 'Oklahoma!' Gets a New, Darker Look
NEW YORK—
The musicals of Rodgers and Hammerstein have been staples1 of the American theater since they were created in the 1940s and '50s. In just the last few years, South Pacific and The King and I have seen Tony-winning revivals3. Now, a highly experimental version of their first musical is being staged at the Bard4 SummerScape Festival in upstate New York.
Oklahoma! was different from the beginning. When it opened on Broadway in 1943, musical numbers were not an intergral part of the story.
"Even though today we take it for granted that all the pieces of a musical work with each other, it was a bit of a revelation then," said Ted2 Chapin, who represents the Rodgers and Hammerstein estates. It's commonplace now to have every song connected to character, and to have dance numbers come out of the songs, "but before Oklahoma!, it was sort of unheard of."
On the surface, Oklahoma! seems like a simple story about a young woman deciding whether to go to a party with a nice young cowboy or a dangerous, lonely farmhand. But there’s a dark undercurrent to the story: The show is set at the turn of the 20th century, before Oklahoma became a state, when the territory was in social and political upheaval5.
According to producer Gideon Lester, the composer and librettist6 understood this.
“There is no history of colonization7 or expansion or the building of nationhood that doesn’t contain violence in it," he said. "And Oklahoma! dramatizes that. Now, it does it in a way that is sunny and funny and full of beautiful music. And that juxtaposition8 makes that violence even more disquieting10.”
An immersive experience
And disquiet9 is just what director Daniel Fish is after. To help the audience feel the musical’s conflicting emotions, he puts them close to the action. They sit at long tables on all four sides of the playing space, which is made to look like a community hall. There’s no chorus, or orchestra, just a six-piece band onstage. And the actors sometimes just speak their lines, sitting in chairs.
The staging of a crucial scene in which Curly, the cowboy, confronts Jud, the farmhand, is especially unsettling.
Fish said Hammerstein described Jud's gloomy hovel in detail — "that it’s dark, that it’s the source of a kind of sexuality and a kind of unknown. And so, well, how do you do that in this space? Well, sometimes the dumb answer is the best answer: Well, what will happen if we do the scene in the dark?”
Damon Daunno plays Curly and said the staging has an impact on the audience.
“It’s amazing how uncomfortable a bit of darkness [laughs] makes people — understandably — but it really changes the sort of spine11 in the room. You can really feel that," he said.
Where the production may be most controversial is at its end. The original play’s accidental death becomes a coldblooded murder.
Fish said this makes a deliberate point.
“It makes the community culpable12 and, I would argue, it also makes the audience culpable, as well,” he said.
And that, he said, gives them something to think about.
“You know, it’s an old story, but it’s also a story that matters now," he said thoughtfully, "in terms of issues of community, in terms of violence, in terms of how we create outsiders and in terms of love.”
1 staples | |
n.(某国的)主要产品( staple的名词复数 );钉书钉;U 形钉;主要部份v.用钉书钉钉住( staple的第三人称单数 ) | |
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2 ted | |
vt.翻晒,撒,撒开 | |
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3 revivals | |
n.复活( revival的名词复数 );再生;复兴;(老戏多年后)重新上演 | |
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4 bard | |
n.吟游诗人 | |
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5 upheaval | |
n.胀起,(地壳)的隆起;剧变,动乱 | |
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6 librettist | |
n.(歌剧、音乐剧等的)歌词作者 | |
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7 colonization | |
殖民地的开拓,殖民,殖民地化; 移殖 | |
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8 juxtaposition | |
n.毗邻,并置,并列 | |
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9 disquiet | |
n.担心,焦虑 | |
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10 disquieting | |
adj.令人不安的,令人不平静的v.使不安,使忧虑,使烦恼( disquiet的现在分词 ) | |
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11 spine | |
n.脊柱,脊椎;(动植物的)刺;书脊 | |
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12 culpable | |
adj.有罪的,该受谴责的 | |
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