Oklahoma as presented by Banbridge Musical Society

Oklahoma as presented by Banbridge Musical Society: 

Thursday 18th April 2024. 

There was a very pleasant atmosphere about this Banbridge Musical Society production of Oklahoma, with a cast who appeared to be really enjoying their work, and consequently, the audience warmed to the comedy, the music and the characters. There was good enthusiasm from the chorus and good talent in the principal line-up, and while the story was clearly told, I felt that some of it could have been more exaggerated to enhance the performances. The set was very easy on the eye, with good projections on the back wall and some very fine solid structures on stage. The smoke house was particularly effective and well-constructed, even if it took a tad long to secure in place. Under stage manager, Andrew McKnight, the scene changes were tidy, but a bit lengthy.

Props were generally good, with the exception of a polished and carved wooden stool that looked very out of place in the farmyard. The lighting for the show was effective enough, generally, with good highlighting of principal action and nice use of colour for atmosphere. The designer also managed to not wash out the projections, which can sometimes be an issue. Director, Anthony Fitzpatrick, gave us a clean and straightforward production, in what was a very traditional telling of the tale. Characters were as they should have been, and everyone seemed securely rehearsed and comfortable in their scenes. 

Musical Director, Dennis McKeever, did a good job on the chorus work, with good accuracy in the vocals and strong harmonies. There were ballads that were nicely presented with good expression in the music, and vocal quality from both chorus and principals was impressive. He conducted a very competent orchestra who played with good accuracy, but for me, too often the pace was very pulled back and seemed to lack energy. The very fine overture seemed to be full of unnecessary ritardando and rallentando, which made it a tad weary for the opening of what is already a lengthy show. I don’t wish to be unkind or repetitive, but I think that generally, an injection of pace was needed for much of the music throughout the show. 

From a choreographic point of view, I felt that most routines needed an injection of energy to make them more appealing. Kansas City was simple but effective, and the girls were tidy, if not over-exerted, in Many a New Day. Choreographer, Aveen Stewart’s best work was in the structure and patterns of The Farmer and The Cowman, which made me sit up and pay attention, and the company seemed to enjoy performing it. Given the length of the show, it was probably a good idea to truncate the ballet, but what remained was a little lacking in content and imagination, leaving me with a feeling that perhaps the chorus and dancers could have been more challenged. 

On an individual performance level, the show was much more successful. Jordan Walsh gave a very relaxed and natural performance as Curly, playing him with humour and charm. His vocals were secure and pleasant, and his affection for Laurey was most believable. This was a good solid performance all round.

Roisin Fearon looked and sounded great as Laurey, full of self-confidence, except in the company of Jud Fry, when she was overtaken by a well-played fear. There was warmth in her portrayal, a good awareness of her comedy, and a most delightful vocal quality. 

James McGinn impressed greatly as Jud Fry. His stature made him menacing, and when his tantrums took over his otherwise fairly affable behaviour, he really was quite intimidating. The tantrums were played with an almost childlike anger and sulkiness, which was kind of creepy, but very chilling. He performed his songs with good emotion. 

Rosemary Kelly was a very homely and likeable Aunt Eller, even if some of her dialogue needed a tad more pace. She was very good in the auction scene and in her singing in the Farmer and the Cowman. 

Kayla Lennon brought vocal power and expression to the role of Ado Annie, and handled her comedy quite well, flitting from Will to Ali and back with cute confusion, and amusing amorous intentions. “I Cain’t Say No” was well-performed. 

Declan Brady had a cute gullibility as Will Parker, definitely not the sharpest tool in the box, and played as a kind of vacant hick. It worked well for the role. He did a good job on both “Kansas City” and “All Or Nuthin’,” and his confrontation with Ali Hakim was funny. Ali Hakim was nicely created by Andrew Hill, full of mischief and immorality. He played the love rat with very good comedy and realistic fear when confronted with the prospect of a shotgun marriage. “It’s a Scandal” was good. 

Helen Fitzpatrick played the role of Gertie Cummings, with a very good annoying giggle that was not too over-the-top. Having stepped in to cover this role at the eleventh hour, this was a very good and credible performance. These four characters played so well together, and I just felt that, had their comedy to be more exaggerated, they would have achieved their full 

potential. 

Chris Gorman was a strong and commanding Andrew Carnes, good in his comedic scene with Ado Annie and Ali Hakim, and suitably intolerant of Will’s stupidity. He had a fine voice and was a good natural leader in The Farmer and the Cowman. 

There was good support from David McClelland as Ike Skidmore, Paul Gorman as Cord Elam, Peter Hughes as Slim, and the various ladies who took solo lines before and during “Out of My Dreams” sang and acted very securely. 

The Chorus did all that was asked of them with good enthusiasm and were tidy in the execution of their movement. As well as their good vocal contribution, they also acted and reacted well in their scenes. 

Costuming of the show was a bit of a mixed bag. By and large, the outfits for the men were good and appropriate, although Jud was far too clean in his early scenes. We needed to see that he was a bit dirty and unkempt. The ladies were mostly well-attired, but both Laurey’s and Ado Annie’s party dresses were too short/modern. Those who wore wigs and hairpieces wore them well, and make-up was very acceptable. Sound quality throughout the show was of a very acceptable standard. 

In spite of the criticisms, this really was a most enjoyable show from a very capable company. While the direction and the music could have been more flamboyant, the performers gave it their heart and soul, and that strong sense of community came across the footlights to a very appreciative audience who, like myself, left the theatre having been delightfully entertained. Sincere thanks to all, and good luck in your future ventures.

Peter Kennedy

Gilbert Adjudicator 23/24

Photographer: Karen Bushby