Director Sean Murray brings a fresh twist to this Rodgers and Hammerstein classic with a spirited, skillful blend of the classic and the contemporary. There is toe-tapping joy with frontier tension in a land where romance is risky, rivalries are real, and the possibilities rise "as high as an elephant's eye."

Oklahoma! follows cowboy Curly McLain (Michael Louis Cusimano) and farm girl Laurey Williams (Ariella Kvashny) as they flirt, fight, and navigate their feelings. Meanwhile, brooding farmhand Jud Fry (Jacob Caltrider) lurks nearby with hopes of winning Laurey’s heart as well. With statehood on the horizon and tempers flaring at the local picnic, the musical explores themes of love, community, jealousy, and survival on the edge of the American frontier.

Michael Louis Cusimano’s cowboy Curly is the ultimate threat: a cocksure and charming baritone with a guitar and a smile that had the women around me swooning in their seats. He is sweetly wooing Laurey one minute and just as smoothly threatening Judd in the next.

Ariella Kvashn y, Michael Louis Cusimano
Photo by Karli Cadel Photography

Ariella Kvashny’s Laurey is no pushover. She’s capable, independent, but also hiding fear beneath her bravado. Her vocals are lovely throughout, especially in the dreamier numbers, highlighting Laurey’s inner conflict over it all. Kvashny brings steel and sparkle to the role; her Laurey doesn’t fall easily, but when she does, you believe it’s hard-won and just as hard to admit.

Kvashny’s dynamic with Cusimano’s Curly feels a bit Shakespearen, think Beatrice and Benedick in boots. But what gives this triangle real tension is that Jud, too, is a viable option. He’s not just the brooding loner; he’s a capable, hardworking farmhand in a territory where land, labor, and security matter.

Caltrider’s Judd has more nuance than traditionally portrayed, balancing pathos and menace with ease. He’s a man who desperately wants to belong, but can't figure out how without coercion. Judd’s awkwardness is almost sweet until it curdles into something darker. His intensity balances the show’s lighter beats, a reminder that this territory is no utopia.

Cusimano and Caltrider also have a crackling chemistry, especially in their first-act psychological duel in Jud’s smokehouse. A farmer and a cowman may be very different, but both are smart, tough, and willing to fight for what they want, and in this territory, charm and cunning are equally dangerous. At one point, Judd offers Curly a drink, and a woman near me gasped, “Don’t do it!” I don’t know her, but I respect the survival instinct.

Jacob Caltrider
Photo by Karli Cadel Photography

The rest of the talented cast adds heart and hilarity. Comic relief comes in the form of Eli Wood’s utterly lovable Will Parker, who is dancing his way through courtship chaos. As Ado Annie, Jazzy Genovese's “I Cain’t Say No” is less a confession and more an anthem; she knows what she wants, even if it changes hourly. Ricky Bulda’s Ali Hakim suffers magnificently (and monetarily) as the collateral damage in their romance.

Jaxon Smith’s crisp dancing stands out, as does Manny Fernandes’ exasperated but loving turn as Ado Annie’s father. Linda Libby’s Aunt Eller keeps the whole town grounded with her wisecracking; funny, firm, and unfazed by foolishness, she shows who is really in charge in this territory.

Jill Gorrie’s choreography energetically blends spirited country two-steps with jagged dream ballet moments that hint at darker undercurrents, which the fight choreography by Jordan Miller underscores.

Patrick Marion’s musical direction and orchestrations infuse the score with a warm, bluegrass-infused sound, mixed with a touch of ragtime and some darker musical themes. Along with playing the accordion and the mandolin, Marion leads a band that includes Kyle Bayquen on bass, Erika Boras-Tesi on cello, Sean LaPerreque on violin/viola, Dave Pschaida on percussion, Cliff Thrasher on sub cello, and Michael Reyes on guitars and banjo.

Anne E. McMills’ lighting design brings warmth and shadow in all the right places, especially during Jud’s scenes, while Mathys Herbert’s barnwood set keeps the world minimal but grounded. TJ Fucella’s sound design is mostly solid, though a few lyrics got lost in the excitement. Behind the scenes, Stage Manager Ali Flores is responsible for ensuring this territory runs smoothly during each performance.

“Oklahoma!” and its blend of classic charm and modern edge is a fitting way for Cygnet to celebrate and close its Old Town era before heading to Liberty Station to kick off a new season in a new theatre. It’s heartfelt, high-energy, and full of talent. I bet you “cain’t say no”.