The Theatre Times: I grew up on Oklahoma! Now, I’m not sure how many Millennials can share this feeling, but that was my life. Oklahoma! was the first musical my parents introduced me to and was one of my favorites as a child. Even though I didn’t really know what was happening, I loved the music, wanted Curly and Laurie to get together, didn’t like Judd, and desperately pined to go to this magical land called Kansas City. And so went my childhood.
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I didn't actually realize this was a review on hometown-Houston's TUTS when I first clicked on it, but now I'm all the more glad I decided to read this article! The diversity in casting is a fantastic thing to hear, and gives me that little jolt of H-Town pride not only for the diversity in casting, but the continued resilience of the Houston Arts community as the re-construction dust settles a very long year after Harvey hit. I am also really pleased to see the combination of the two companies, TUTS and Houston Ballet. Houstonians affectionately refer to the "Big 5" when talking about the downtown theater district that includes TUTS, Houston Ballet, Houston Grand Opera, Houston Symphony, and the Alley Theatre. The presence of these 5 giants help encourage patronage to many other smaller groups in and around Houston, and can help draw in artists from all around that wind up falling into those smaller, but no less impressive, producing companies. Seeing two of the "Big 5" working together so closely on a project is encouraging and may have some really magnificent trickle down affects.
The article pays homage to the child within us who first discovered the art of theatre. The writer, Trevor Boffone, speaks fondly about the “Theatre Under the Stars” production of Oklahoma! because it represents his initial attraction to the art form. His review of the production notes the plot and background of the show, while tying in what makes this specific production unique and worthwhile. I appreciate how he not only touches on the leads, but he also references the strength and cohesiveness of the ensemble. My favorite line is when Boffone notes “the cast looks like the city of Houston” because of the heavy inclusion of diversity through people of color. This is an excellent way to cast because it shows that this classic, 75-year old piece of theatre can still have a place in this 21st century world. The timeless score of Rogers and Hammerstein, along with what sounds like a strong design team, is sure to attract the public of Houston.
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