Aisle Say: New Candlelight Theatre breathes new life into "Oklahoma"

Choreographer Dan Dunn done divine dance work.

That sums up a major part of Oklahoma at the New Candlelight Theatre. Revolutionary at its premiere in the early 1950s, Aisle Say emitted a momentary groan when this show appeared on their billboard in January.

Yet the actors have imbued this production with freshness and verve. Directors preach to their charges to pretend each show is opening night. This troupe has learned the lesson well.

Newcomer John Baccaro (Curly) has a brilliance to his voice that rings out in the opening notes of the classic, “Oh, What A Beautiful Mornin.'” He's tall, lanky and cocky, just like a cowpoke oughtta be and best of all, he sustains those high notes with studied breath control.

For those who saw Brian Peeke as the signature Willard Hewitt in New Candlelight's recent “Footloose,” he returns as Will Parker in this production: the long in the jowl, aw-shucks Festus-style sidekick to the lead. Think "Back to The Future" in this role. Peeke channels his contemporary Willard Hewitt back one hundred years to his great great grandfather Will Parker. Peeke is very entertaining and exudes exuberant slack-jawed charm. His interplay with the perky Caitlin Reilly (Ado Annie), the girl who "can never say no," delights the audience.

The great drama of Oklahoma is who is going to buy Laurie's food basket at the auction to raise money for the new school. Will Curly risk everything to claim the prize against that reprehensible carp-of-a-man Jud Fry? Horrors!

Aisle Say has seen perhaps a dozen Jud Fry's in his career. None has been so ominous or menacing as Dale Martin's characterization. Fry never looks anyone square in the face. He growls rather than speaks. He lumbers rather than walks. In fact, Martin is Rod Steiger with a voice (Steiger played the role in the movie).

Unfortunately, his character has few opportunities to sing, for Martin's voice equals that of Curly's in stature.

Paul Weagraff adds to his lengthly resume in the supporting actor category, this time as the Persian peddler – and great kisser (ask Ado Annie) – Ali Hakim.

Before the lights go up and the guests stand in line for the delicious buffet, Aisle Say perused the set, a series of tiered wooden cut-outs giving the impression of Oklahoma rolling hills. Not particularly prepossessing on the surface.

However, what lighting designer Chris Alberts does with this set – especially during the "dream Laurey" sequence, is simply transformational. Alberts craft defines the magic of live theatre.

As noted above, Dan Dunn breathes fire into the dancing. Agnes DeMille's innovation of the dream sequence with ballet was a first for American musical theatre. Dunn has taken some of that same choreography and blended his own work in a masterful piece of work.

At “Footloose,” Aisle Say and his sister Liz sat with newcomers to Delaware from China. This time we sat with New Candlelight regulars. In both instances we departed the evening with new friends. It is always a hoot to have the actors as your servers for they love so much being part of this theatre family.