by Alan Jozwiak
Before beginning my review of NKU’s must-see Oklahoma!, a quick history lesson.
A hundred years ago, living in the Western territories of the United States meant embracing a can-do attitude, showing self-reliance to solve your problems, and feeling like you have the right to do whatever you like. If someone comes into conflict with you, it is right and proper to solve things by violence, using fists instead of words to argue your case. The rule of law is relatively weak, and mob mentality often rules the day.
Northern Kentucky University’s (NKU) School of the Arts is now staging Oklahoma! the quintessential American musical.
The Story of Oklahoma!
Oklahoma! tells of life in the Oklahoma territory circa 1906, one year before it becomes a state. The musical’s plot centers around two couples—Laurey Williams (Katie Chambers) and Curly McLain (Charlie Norman) for couple one, and Ado Annie (Mabrey Rice) and Will Parker (Braedan Criss) for couple two—who navigate the rocky terrain of romance out on the prairie.
While the subject matter seems like the fluff shows that come before it, the creators of Oklahoma!, Richard Rodgers and Oscar Hammerstein, layer other dimensions onto the simple romance story, such as the consequences of living out a Western territory mentality. Most productions of Oklahoma! tend to emphasize the romance story at the expense of the tensions between territory and statehood, farmers and cowmen, and the needs of the individual versus the rule of law.
Not so with this production.
Director Kat Moser-Priddy keeps these tensions at the forefront of her direction, staying true to the spirit of the show. She also produces a gosh-darn entertaining evening of theatre.
Moser-Priddy plays around with some of the traditional staging. In keeping with the spirit of the Agnes de Mille choreography, she adds a ballet number that introduces all of the main characters. The friend who I go with really appreciates this touch because it sets up the action in the musical by showing which performers are paired together.
Strong Leads and Lovers
Moser-Priddy’s work shows in her casting and deft direction of her leads. Both Katie Chambers (Laurie) and Charlie Norman (Curly) are outstanding in their respective parts. They sing beautifully and have great on-stage chemistry. Norman’s Curly is brash and full of himself, but not so much that you discount the character, and Chambers’ Laurie, hovering between wariness and sexual interest in Curly, comes across as grounded and fresh. The two share great scenes together, such as their duet “People Will Say We’re In Love” and the proposal scene, which is particularly delightful.
Similarly, Mabrey Rice (Ado Annie) and Braedan Criss (Will Parker) are wonderful as the pair of lovers who contend with their own attempts at romantic self-sabotage (Ado Annie likes to kiss the boys, and Will Parker likes to give an Oklahoma hello to the girls he meets). Both have strong voices and know how to act out a song. Rice’s version of “I Can’t Say No!” delights, while Parker’s rendition of “Kansas City” is filled with strong dancing and singing.
I want to single out one other actor because they are such a delight to watch—Jericah Greene. Greene plays Laurie’s Aunt Eller as a vibrant presence with a forceful personality, combined with a great sense of comic timing and strong vocals.
Production Team
This production also stands out in dancing. Kudos to choreographer Genevieve Perrino for taking the original choreography of Agnes de Mille and breathing new life into it. I also applaud her efforts at getting the entire cast to dance effortlessly in old-fashioned high heels (for the women) and cowboy/work boots (for the men). That is not easy to do, and the cast pulls off some difficult moves in footwear not meant for dancing.
One final shoutout to the production team. I love scenic designer Eric Barker’s set piece of Aunt Eller’s house, as well as the big sky backdrop, where we see the sun rise and set as the day progresses. Both serve as beautiful accompaniments to the acting and deserve praise.
My friend who sees the show with me also loves the small silhouette of Aunt Eller’s house on the distant horizon before Laurie’s Dream Ballet. It showcases the vastness of the West in a simple way and emphasizes her separation from those she loves as she sorts out her feelings for Curly.
Overall
This production of Oklahoma! makes me rethink what I know about this musical, all the while entertaining me greatly. This is a must-see for those who enjoy a good musical and for those who want to reconsider a theatrical war horse in a new light. It makes me think about the territory that is just about ready to become our 46th state in a new and different way.
I heartily recommend this musical, and it serves as a fitting way to open the NKU 2025–2026 theatrical season.
Get Tickets to Oklahoma!
Oklahoma! runs from September 26–October 5, 2025, in the Corbett Theatre in the SOTA arts building on the NKU campus. Click here for tickets and to explore other exciting offerings at NKU SOTA.
