‘Oklahoma!’ @ Stolen Shakespeare Guild
Photos by Jennifer Stewart
—Jan Farrington
The short version of my review of the lively and uplifting Oklahoma! at Stolen Shakespeare Guild would go like this: Company co-founders and co-directors Jason & Lauren Morgan have poured an overflow of talent into this big production. Samantha Snow and Lar Macklin make a terrifically engaging pair as the will-they-won’t-they couple Laurey and Curly, and Lana K. Hoover brings the funny, grumpy, loving Aunt Eller to maximum life every moment she’s onstage. Kyle Holt’s rich, deep voice is perfect for the scary role of farmhand Jud Fry—and Jessica Peterson and Dakota James are hilarious and touching as the flighty (cain’t say no) Ado Annie and her frustrated cow-beau Will Parker. And as “peddler man” Ali Hakim, Alex Bigus’ droll “Persian on the Plains” accent is a riot, along with his hangdog expressions.
What’s more, every one of these characters are delightfully believable, even if they’re idealized 1940’s Rodgers & Hammerstein versions of frontier “types.” And they can sing—boy howdy, can they. And when the ensemble assembles in various guises (cowboys, farmers, farmer’s daughters, saloon gals, and one possible serial killer) they raise the roof with these wonderful classic tunes.
Samantha Snow’s clear soprano has shone in any number of SSG shows, and Lar Macklin (an electric “Seaweed” in the company’s recent Hairspray,) matches her with a terrific voice of his own. Both have charm to spare and plenty of onstage chemistry—and perhaps the best thing of all is that they never drop out of character while they’re singing: it’s still Curly looking deep into Laurey’s eyes, or Laurey looking back at him as she sings—torn between adoring and confused—and sometimes a bit annoyed by the boy.
On a different note, I heard in passing that some Stolen Shakespeare advertising (the graphics show the Black/white casting of Curly and Laurey) has dragged in some racist reactions and nasty comments, mostly anonymous. I’d make a strong guess these are not from SSG’s wide and devoted audience base, or from regular area theatre-goers either. Not only does the pairing of Snow and Macklin work wonderfully well, I’ve been delighted by recent shows at SSG that include plenty of the Texas talent that comes in all colors. That’s nothing new for this fine company, but lately, it’s somehow more.
This Oklahoma! sticks to the original, full of folk-style melodies and dreamy waltzes from Rodgers, and simple lyrics from Hammerstein for these plain-spoken people of 1906 in “The Territory.” “Oh, what a beautiful mornin’ … What cha gonna do when a feller talks purty? … With me, it’s all or nuthin’ / Is it all or nuthin’ with you? … Ev’ry night my honey lamb and I / Sit alone and talk, and watch a hawk / Makin’ lazy circles in the sky….” Just one minor quibble: I thought the recorded music was melodic and clear, but the tempo felt slightly slower than it should have been for optimum performance—though the singers took it in stride.
This piece of musical Americana has its shadows (along with the beautiful mornin’s). It’s a violent country, guns at the ready, even fun and games turning rough in a flash. And there’s Jud, whose loneliness makes us wince for him—but he’s still a twisted up man obsessed with what passed for porn in that day, and desperate for a real live girl. Curly, trying to make Jud move on (or maybe worse) forcibly goads him toward the edge. The recent Broadway production took the show’s inherent darkness to a place never seen before—but this isn’t that show! The viral “strain” of rage in America’s history gets its due—but then, like the young pioneering nation, life goes on…whatever you think of that.
Ado Annie/Jessica Peterson is the choreographer, and uses the wide, shallow stage space very well. If some f the dancing looks a bit rustic, these are country folk after all—and the ensemble looks to be having great fun. (It’s not especially fair to play favorites in dance—and all y’all were good!—but I’d like to give Liv Hopkins a shout-out for her dancing as the giggling Gertie Cummings; she’s packs lots of fun and energy into her moves!
Libby Hawkins is the fight choreographer (and there are plenty of punches thrown), and lots of people built the pretty set of farmhouse & windmill—but Lauren Morgan and Kate Vidimos painted it. The endlessly varied costumes were wrangled by the “crew” of Nancy Strain and Julia Molina. Honestly, I liked them all, but Aunt Eller’s best—maybe because we’re about the same age. I’d wear any of them.
SSG’s new theatre on Decatur Avenue in north Fort Worth is a perfect size—there’s not a bad seat, with only five (I think) long rows, all right in front of the stage. There’s a new outdoor garden space , too, that practically doubles the “hangout” part of the venue; ramrodded by young board president Adam Comer, it’s beautiful already, and will only get more so as the plantings fill in.
Beyond the folks I’ve already mentioned, this good cast included: Walter Betts as Ado Annie’s father Walter; Dylan K. Haney as rancher Ike Skidmore; Watthew W. Bearden as cowhand Cord Elam—plus ensemble members Kendal Ali, Kailey Bermudez, Jonathan Charles, Erica Erives, Sean Malloy, and Jennise Streaty. Okla-hooooo-ma!
WHEN: April 10-26, 2026
WHERE: SSG, 3623 Decatur Avenue, Fort Worth
WEB: stolenshakespeareguild.org
