Oklahoma

Of all the Rodgers and Hammerstein musicals, “Oklahoma” with its tuneful lyrics is perhaps the best known and I for one shall never tire of hearing the lilting music, however often it is sung on the radio.

This week the Walmsley Church Amateur Operatic and Dramatic Society is presenting the show and the fact that one has to take a sevenpenny bus ride out of town to get to the school hall did not deter the enthusiastic audience last Saturday evening, when every seat was filled and even some were standing.

There is no doubt that, for a Society with an eye mainly on the financial aspect, the musical play or comedy is the answer, since this type of entertainment is obviously what the theatre-goers are after. This tale of farmers and cowboys and high spirited young women in the virgin state of Oklahoma was slow in opening, but by the third number, “Kansas City”, when the men’s chorus sprang into action, the play suddenly came alive, and from then on there was no holding back.

That is not to say, however, that the first two numbers were not enjoyable – John E. Hacking was the star of the show, but musicals with a rousing opening chorus always kick off to a better start. The players were not always completely audible, and my seat was nowhere near the back of the hall, so that those less fortunately placed must have been wondering what was going on, unless of course, they had digested the programme thoroughly, with its comprehensive synopsis. At times the orchestra proved too much for the artists’ voices, although this fault may have been rectified by now.

Stella F. Harrison (Ado Annie) had a lively stage presence and she and John Hacking (Curley) were outstanding among the principals. While Mildred A. Kay (Laurey) was a charming leading lady with a sweet voice.

The production is under the direction of Mrs. D. Hacking and the choreography is by Miss G. McDonald.

I would go to Widnes to see "Oklahoma", let alone Walmsley and although it was a perishing night, I struck North to see what the lads and lasses of Walmsley would make of this classic of musical plays.

They made it handsomely; it is a long time since I enjoyed an amateur production so much, and a special pat on the back goes to the scenic department. Those back-room boys excelled themselves.

Those of you who know this show are well aware that a good bit of dancing is called for, and the work of Miss G. McDonald came to lovely fruition in the Dream Ballet, a high spot of the night. Mildred Kay's "Laurey" and the "Curly" of John Hacking made a good team, and Joyce Thomson gave us a very good "Aunt Eller".

Only pressure on space prevents me giving more mentions, so many merit them, but I must hand it to Stella F. Harrison for a brilliant "Ado Annie".

What a change to leave the translucent glow of Oklahoma and venture into the chilly air of Egerton during the interval.

It was a biting wind coming, so it seemed, from Darwen tinged with a bit of Turton bias. Gone the warm amber of Oklahoma, gone the paint and the powder before the ciy blast of reality. Had it though? For as I stood there enjoying a cigarette, I saw through a wan shaft of moonlight, silhouetted against an ecclesiastical wall, a bunch of cowboys interested in the same pastime as myself. Gone the American accent (very well done in the show) they were back to earth and Egerton, until the bell bid us back to romance and music once more.