Oklahoma as presented by Londonderry Musical Society

Society Name: Londonderry Musical Society

Show Name: Oklahoma!

Adjudicator Date of Attendance: 11/04/2025

Brief Overview of Show and Evaluation of Front of House

Londonderry Musical Society’s presentation of Oklahoma! was a warm, vibrant and joyful return to one of Rodgers and Hammerstein’s most iconic works. This production celebrated the spirit of frontier life, with a keen focus on character dynamics, a full and glorious sound from both orchestra and ensemble, and moments of genuine theatrical magic. While there were areas for refinement, particularly in technical polish and vocal clarity, this was clearly a production built on deep affection for the material and a company-wide commitment to storytelling.

The atmosphere in the theatre was inviting and well-managed from the moment of arrival. The Front of House team operated with professionalism, managing guest entry with a friendly and composed approach. Patrons were welcomed warmly, and the overall environment reflected a sense of pride and anticipation. The energy in the auditorium was one of community support, creating the perfect backdrop for an engaging and well-attended night of classic musical theatre.

Director – Direction and Production

Michael Poole’s direction demonstrated a well-developed understanding of the show’s narrative structure and character interplay. His approach struck a strong balance between preserving the charm of a golden-age musical and breathing fresh comedic life into it. Poole brought the best out of his actors, particularly in highlighting the underlying relationships that define this tight-knit frontier community. The world he created felt fully inhabited, these weren’t just characters placed in scenes, but people with histories, routines, and grudges.

Particularly effective was his treatment of Aunt Eller, whose role was expanded through subtle staging choices and reaction-based comedy that added a grounding warmth to many scenes. The romantic tension between Laurey and Curly, too, was paced with care, never rushing the emotional shifts and instead letting them bloom naturally.

There were a small few moments where dialogue clarity suffered due to inconsistent diction, due to accent work. With such a text-rich script, ensuring every word is heard is vital, and future productions might benefit from additional vocal coaching.

Overall, this was an excellently led production with Michael Poole firmly at the head.

Musical Director – Direction and Orchestra

Peter Doherty’s musical direction was simply outstanding. The orchestra brought a lush, cinematic texture to the score, with a full-bodied sound that filled the auditorium beautifully. Every orchestral line was clear and dynamic, and instrumental balances were impressively well-managed, especially in ensemble-heavy numbers where clarity is often a challenge.

Vocal direction was equally praiseworthy. Harmonies from the chorus were rich, warm, and confidently delivered. It was clear that great attention had been paid not only to tuning and ensemble unity, but also to musical phrasing and dynamic shaping. The large group numbers felt alive with intention, never flat or robotic.

Tempos were consistently well-judged, providing energy while allowing space for the dancers and actors to breathe. This careful pacing helped maintain dramatic momentum throughout the evening. Overall, this was a masterclass in how to lead a musical that blends intimacy with grandeur.

Choreographer – Choreography

Vanessa Chapman’s choreography stood out as one of the evening’s great successes. Her work showed a strong understanding of both the musical style and the physical capabilities of the cast. She built sequences that enhanced the storytelling rather than distracting from it, using changes in formation, symmetry, and energy to reflect each scene’s dramatic shifts.

The “Dream Ballet” was a highlight, delicate, expressive, and emotionally charged. It made full use of Holly Dean’s balletic elegance as Dream Laurey.

Vanessa also found ways to make ensemble-heavy numbers feel fresh. “Kansas City” was a joy to watch, with clever inclusion of female cast members, a welcome choice in a show that can often limit chorus involvement. However, it would have been great to see more male ensemble dancing featured in that number, given the storytelling opportunities it presents for building Will’s world.

Leading Principals – Singing and Acting

Laurey – Caitlyn McCrea: Caitlyn gave a luminous performance as Laurey. Her interpretation captured the mix of coy charm and determined independence that makes the character so beloved. She struck a compelling balance, never veering into caricature, but instead delivering a young woman of depth, pride, and vulnerability. Her vocal performance was outstanding. With a silky legit soprano, she soared through the score’s upper range with ease and clarity. Particularly impressive was the emotional colouring she brought to songs like “Many a New Day,” where her inner conflict was tangible.

Curly – Luke de Belder: Luke was a natural as Curly. He possessed the easy swagger and magnetism required for the role, and his relaxed stage presence made every interaction feel organic. His singing voice was gorgeously smooth, rich in tone and full of charm. Every line of “Oh, What a Beautiful Mornin’” landed with sincerity and warmth. He and Caitlyn shared an authentic chemistry that allowed their scenes to flow with believable tension and humour.

Aunt Eller – Una Culkin: Una delivered a scene-stealing performance as Aunt Eller. Her comedic timing was pitch-perfect, and her interactions with the other townsfolk showed clear thought and consistent characterisation. From her wry reactions to the town drama to her grounding presence during more serious moments, Una’s Eller was a standout. Her vocal lines were delivered with clarity and strength, and she handled the dual task of narrator and participant with seamless ease.

Supporting Roles – Singing and Acting

Will Parker – Aidan McLaughlin: Aidan brought youthful energy and charm to the role of Will Parker. His physicality and dance ability were strong, and he carried himself with the perfect blend of optimism and dopey charm. He shared a delightful dynamic with Ado Annie, which made their scenes genuinely funny and endearing. His vocals were confident, and his performance of “Kansas City” was one of the show’s high points.

Ado Annie Carnes – Amy Astbury: Amy brought a vivacious spirit to Ado Annie. While her accent choice occasionally muddied some of her diction, her comic instincts were excellent. She gave the role a contagious energy, backed by impressive vocal power and range. Her relationship with Laurey was nicely drawn, two friends navigating young love in very different ways, and her solo number landed with gusto and humour.

Ali Hakim – Ricky Kyle: Ricky’s Ali Hakim was a colourful and engaging performance. His choice of a British accent over a traditional Persian one may have raised some eyebrows in terms of authenticity, but it was consistently delivered and suited the character’s flamboyant con-man persona. Ricky had excellent timing and transitioned between comedic beats and moments of desperation with great fluidity.

Jud Fry – Matthew Irwin: Matthew presented Jud Fry with a brooding presence, though the character’s full potential wasn’t entirely realised. The portrayal stopped short of being truly menacing or tragically pitiable, two poles that Jud often straddles. There was a strong foundation, however, in his interactions with Laurey and Curly, and his voice carried weight and control. With more psychological depth, this performance could have had even greater impact.

Andrew Carnes – Brendan Brady: Brendan delivered a sharp and comically charged performance. His Andrew Carnes was dryly exasperated and comically stern, especially in scenes with Ado Annie. His timing was excellent, and his reactions often elicited strong laughs from the audience. He was a believable father figure and protector, with clear emotional stakes in every scene.

Gertie Cummings – Natalie Armstrong: Natalie made the most of her limited stage time, bringing Gertie to life with an unforgettable and perfectly pitched laugh that became one of the show’s reliable comic beats. Her character was both annoying and oddly charming, exactly what Gertie should be.

Dream Laurey – Holly Dean: Holly was a beautifully expressive dancer, portraying Dream Laurey with grace and emotional openness. Her extensions, lines, and ability to tell a story through movement elevated the ballet sequence into a visual and emotional highlight. 

#Ike Skidmore - Leon Cullen, Cord Elam - Simon Quigg, Slim - Joshua Donnell, Fred - Conor McColgan: These ensemble roles filled the world of Oklahoma! with humour and authenticity. Their movement was polished, and their ensemble work supported the leads with vigor. A word of caution: in striving for comic effect, be mindful of pushing too far into overacting, naturalism often yields greater impact.

Chorus/Ensemble – Singing, Acting, and Choreography

The chorus was a true asset to the production. Vocally, they created a wall of sound that was impressive, with tight harmonies and crisp diction. Their ensemble numbers were filled with commitment, and musically they never wavered. Choreographically, they moved with precision and intent, filling the stage in an organic, flowing way. Particularly in group numbers like “The Farmer and the Cowman,” they delivered excellent musical phrasing and physical storytelling. Occasionally, some performers tipped into exaggerated reactions, pulling focus unintentionally. A more naturalistic grounding would make their work even stronger.

Stage Management & Set Design

Set design was creative, well-constructed, and visually effective. The large, imposing set pieces gave the stage depth and scale, and the use of moving elements, like the reveal of Jud’s shack or the retreating porch, was both functional and delightful. The ballet’s set transformation was particularly impressive, with the symbolic shedding of foliage creating a powerful visual metaphor moving between the light and dark worlds.

Scene changes were smoothly managed and rarely drew attention. That said, Jud’s shack appeared a little unstable at one point and could benefit from more secure bracing.

Technical – Lighting and Sound

Lighting design suffered somewhat due to uneven focus and dark patches—particularly in centre stage areas. This impacted key scenes and diminished visibility at crucial moments. A review of lamp alignment or bulb replacement might address this. Lighting cues were somewhat abrupt and could benefit from longer fade times. Nonetheless, the lighting served the overall storytelling well, with good cyc usage and effective mood-setting.

Sound was superb, dry and crisp for dialogue, which suited the setting perfectly, and expansive and full during musical numbers. The balance between vocals and orchestra was exemplary, and no lines were lost to poor mixing. One of the strongest elements of the production.

Visual – Costumes, Hair, and Make-Up

Costumes captured the period aesthetic for the most part, though a few pieces, particularly some shorter skirts and low-cut blouses, felt out of place for the early 1900s setting. Fit was another issue in isolated cases, with Ali Hakim’s costume notably ill-fitted. Jud’s look could also have benefitted from more distressed, grubby textures.

Hair styling was generally appropriate, though more attention to updos for married or older women would have increased authenticity. Make-up was natural and flattering, allowing expressions to be seen clearly under stage lights without feeling overdone.

Adjudicators suggestions/ comments- overall comments on the production and comments to enhance the standard for future performances.

This was a heartfelt, well-constructed, and entertaining production of Oklahoma! that showed deep respect for the material. The performances were rich in detail and delivered with warmth and intelligence. Musical and choreographic elements were high calibre, and the staging choices demonstrated creativity and cohesion.

For future productions, ensure that vocal clarity and diction remain consistent across the cast. Technical elements such as lighting could benefit from refinement, and attention to period detail in costume and styling would further elevate the visual world.

Nevertheless, this was an extremely enjoyable evening of musical theatre, filled with strong characterisation, spirited ensemble work, and beautiful music. Londonderry Musical Society should be proud of this vibrant and lovingly rendered show.

Photos by John Purvis