This popular show is presented in a well-designed set by Andrew Ward that highlights its best qualities. The direction of Trevor Nunn is assured and tactful. The choreography by Susan Stroman is equally impressive; it is thrilling, energizing, and electrifying, but most importantly, it is expressive without ever interfering with the dramatic flow.
A large and talented cast, appealing set-setting projections, sumptuous costumes, excellent live orchestra, and outstanding dancing made it difficult not to be in awe. Agnes de Mille’s original dances changed the landscape. The subsequent events are introduced by a 15-minute ballet dream sequence that is integral to the plot. Dance was performed beautifully throughout and enriched the narrative.
I am willing to proceed by defining katharsis in terms of tragedy. The theory seems to be that witnessing a tragedy causes us to feel fear and pity before letting those feelings go (Due). I could conclude that the katharsis element was efficiently implemented in Oklahoma 1943 Broadway play, as I experienced an absolute pity of death. Mythos, as one of Aristotle’s elements, is determined by how it is set up and arranged to convey its message. This word can refer to sculpture, music, or any other form of art (Due). Oklahoma’s mythos was artfully incorporated through music. I was astounded by how many of the melodies by Richard Rogers that Oscar Hammerstein II wrote, along with the book and words, were songs that seemed oddly familiar. Instead of just showcasing a player’s vocal abilities, songs in Oklahoma! were as supplementary conversation. Ballet “dream” sequences that had been expertly choreographed served as an embedded dramatic attribute, illuminating the characters’ unsaid feelings and thoughts. Strong and clearly defined characters were present.
Work Cited
DuĂ©, Casey. “Conclusion: The Tears of Pity”.The Captive Woman’s Lament in Greek Tragedy, New York, USA: University of Texas Press, 2021, pp. 163-168.