Yes, casting is crucial in a musical that depends so much on atmosphere, as director McGlasson is especially aware. That's so from the first person we see Laurey's Aunt Eller, whom Maria Day Hyde provides down-home charm, whether churning butter, as she is then, or giving advice. Hawver's Curly and Maynard's Laurey are a convincing couple, he amiably determined and she sweetly spunky.
One reason Oklahoma! isn't staged as often as it might be is that there's so much dancing going on. Choreographer Vessella has done a marvelous job. Whether the male ensemble is doing a thumbs-in-belts hoedown production number or Curly is lifting Laurey in a balletic duet, the adaptations from Agnes de Mille's original choreography are adroitly executed.
URI Theatre has done quite well with a difficult challenge. This Oklahoma! deserves its exclamation point.
Related:
'Drowsy Chaperone', Poking Musicals in the Funny Bone, Begins L.A. Run, Winnning ways, I sink, therefore I am, More 
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Topics:
Theater
, Entertainment, Dance, Performing Arts, More
, Entertainment, Dance, Performing Arts, Musicals, Oscar Hammerstein, Agnes de Mille, Richard Rodgers, Lila Kane, Lara Maynard, URI Theatre, Less
