Theater Emory's "Oklahoma!" is average

Back in 1943, “Oklahoma!” represented a musical-theater landmark. Besides beginning a phenomenal collaboration between composer Richard Rodgers and lyricist Oscar Hammerstein II (“The King and I,” “The Sound of Music”), it was among the first musicals to abandon the traditional “revue” format – using songs and dance to further an actual storyline, to embellish the thoughts and feelings of actual characters.

In 2010, it’s easy to overlook the show’s revolutionary reputation. There have been countless “book” musicals in the decades since “Oklahoma!” paved the way, so a lot of its uniqueness has worn off. How many people have seen the movie version before? How many have seen it performed on stage, one or probably more times over the years?

What warrants attention about the latest local production isn’t that it’s “Oklahoma!” but that it’s Theater Emory’s “Oklahoma!” Unlike Atlanta’s other Equity (union) companies, which might consider such a show as a money-making crowd-pleaser, Theater Emory is privately funded and doesn’t operate on the same commercial terms.

There’s an academic emphasis to most of its work, of course – Greek tragedies (“Alcestis”), Restoration comedies (“She Stoops to Conquer”), Ibsen dramas (“Peer Gynt”). Needless to say, its 2007 “Spring Awakening” wasn’t the currently popular rock musical, but a translation of the 1891 German play it’s based on.

Under the circumstances, new artistic director John Ammerman’s choice of “Oklahoma!” is more inspired than his staging of it, which is moderately entertaining but nothing special. In its design and execution, it’s that rare Theater Emory show that looks and feels like your average college production.

Except for his wife, Kathleen McManus (a fine Aunt Eller), the professionals in Ammerman’s ensemble (including Denise Arribas, Scott E. DePoy, Adam Fristoe, Hunter Hanger, Ronn K. Smith and Michael Strauss) mainly loiter in the background.

Zechariah Pierce and Claire Rigsby, talented singers both (“People Will Say We’re in Love,” etc.), make an appealing couple as Curly and Laurey. Rebecca Lipman’s man-crazy Ado Annie is a spunky delight, and John Casavant is also enjoyable as the Persian peddler, Ali Hakim.

But some of the other student actors stick out more conspicuously than normal. Joshua Izaak portrays the dimwitted Will Parker as an irritating pest. As Jud Fry, the heavy of the piece, Andrew Allen growls and grimaces to ridiculous effect.

All of the musical numbers are performed with gusto. Music director Scott Stewart conducts an impressive 14-piece orchestra, and Michael Monroe serves as vocal coach for the 26-member cast. For his part, choreographer George Staib minimizes the famous original dances by Agnes de Mille beyond much recognition.

It would’ve been just like Theater Emory to tackle one of Rodgers and Hammerstein’s rarely produced works. (“Flower Drum Song,” anyone?) As it is, a mainstream “Oklahoma!” isn’t such a big deal.

Theater review

“Oklahoma!”