The Milwaukee Rep stages one helluva drag show in "The Legend of Georgia McBride"

An Elvis impersonator turned drag queen

Milwaukee, have your dollar bills handy! Though it’s only been on stage since 2014, Matthew Lopez’s Georgia McBride is on its way to becoming a bonafide dragtastic legend. Now on stage at the Milwaukee Rep, under the fantastic direction of Meredith McDonough, the heat and heart in this play about an Elvis impersonator turned drag queen is the uplifting, energizing show audiences need right now. 

The Legend of Georgia McBride is the story of Casey, the aforementioned Elvis impersonator, who works at a seedy nightclub in Florida. In an attempt to liven up the joint, the gruff bar owner hires a couple of drag queens and says adios to Elvis. The problem: Casey has a wife at home, a baby on the way, and overdue rent to pay. Desperate, the former King becomes a queen, and the show goes on to be a sequined, feathered confection.






Kevin Kantor, last seen at the Rep in the heart-wrenching Things I Know to be True, does a one-eighty in this exuberant, joyful tale of acceptance and fabulosity. Their montage-style transformation from straight man to drag queen — from “Who is Edith Pilaf?!” to fervidly lip-syncing “Padam Padam” — is seamlessly staged and a delight to behold. Kantor sells the loving-husband side of Casey to be sure, but they’re at their best when dressed in drag. Theirs is a phenomenally glittering, firecracker performance, full of glorious capes, wigs, and high-kicks to “Woo!” over. 

The incoming act features veteran drag queen Miss Tracy Mills and her stage partner Rexy, played by Courter Simmons and Armand Fields, respectively. Each of these queens is larger than life in her own way. Tracy is old-school drag in the vein of Judy Garland and Rexy brings the Beyonce. Both Simmons and Fields light up the stage — and the audience — by their sheer presence. But let’s start with Simmons. 

Simmons is spectacular beyond belief. In scenes both backstage and in the spotlight, his Tracy is like butter — smooth, rich, and keeps you craving more. He has so thoroughly fleshed out this character, there’s scarcely a whiff of “acting” in his performance. It’s hard to pick a favorite moment — the Judy Garland quick-change number, the leprechaun puppetry, Tracy’s dynamic with Casey. It’s a toss up because Simmons is just so uniformly impeccable. 

Fields’ Rexy has a smaller part relative to the other queens, but her impact is no less felt in the story of Georgia McBride. As the hilarious and hot-mess Rexy, Fields gives a powerhouse performance. And I’m not just talking about their killer take on Queen Bey, shade-throwing one-liners, and memorable exits. There’s a point in the show where Rexy educates Casey on the deeper meaning of drag — that it’s an act of protest as much as a form of entertainment. Fields’ impassioned manifesto hits a necessary nerve and acts as a reminder for us all that drag is about so much more than just the spectacle. 

Love must also be given to James Pickering as club owner Eddie and Shavanna Calder as Casey’s wife, Jo. Calder’s role feels like a bit of an accessory to the plot of Georgia McBride, still she brings warmth, humor, and plenty of spitfire to the part she plays. 

As for Pickering, mighty distinguished man of the Milwaukee theater scene that he is, seeing him in the role of Eddie is an all-out blast. The moment he shuffled on stage in his khaki shorts, tight white tank, and flung-open tropical shirt, the audience lost it. Pickering in a trucker hat and a rattail — who would’ve thunk! 

Finally, I can’t conclude a review touting the exceptional nature of the Rep’s Georgia McBride without mentioning costumes. Costume Designer Patrick Holt has a side career in drag, and his devotion to this artform is clearly felt in his lavish, joyful designs. The looks he’s created from tip to toe are larger than life, full of shocking color and costume reveals that elicit delighted gasps and applause. From a risqué box of chocolates to an ultra-glittering American flag reveal, it’s tough to pick a favorite. 

To sum it up, The Legend of Georgia McBride is a straight-up world-class drag show with all the glitz and glam — and a plot to boot. Should you see it? Finger snaps to the high heavens and a big ol’ “yaaas queen!” Georgia McBride is only playing at the Rep through February 9th, so slip into your best shapewear and sequins and come out to applaud the best drag show in town. 

Photo credit: Michael Brosilow

Skylight & MOT present Gilbert & Sullivan's "Ruddigore"

A comic opera to charm your socks off

Is there anything the Milwaukee Opera Theatre touches that doesn’t turn to gold? Their latest collaboration with Skylight Music Theatre is Gilbert and Sullivan’s Ruddigore, a sweet, hilarious, melodramatic comic opera made exceedingly charming under the inspired watch of co-directors Jill Anna Ponasik and Catie O’Donnell. With these creative cohorts in tow, I swear there’s nothing attached to Ponasik’s name that I’ve not adored. Her vision is a special kind of magic, and Milwaukee is lucky to have her. 

So what’s a Ruddigore? It’s a town where a long line of Baronets are plagued by a witch’s curse: they must commit one crime each day or die in agony. Generation after generation, these gentlemen have each suffered painful deaths after no longer being able to bring themselves to commit atrocities day in and day out. See, the Baronets are not bad men — they’re merely doomed to choose between a life of crime or death by torture. Ah me, c’est la vie!

The show is rife with twists and turns and plot devices like mistaken identities, good guys becoming bad guys and vice-versa, and characters giving romance the runaround. The central duo is Robin Oakapple, secretly the rightful Baronet of Ruddigore, and Rose Maybud, an eligible and love-hungry maiden. There’s also Sir Despard Murgatroyd (the unwitting false Baronet), Richard Dauntless (a troublemaking goon — also rather unwitting), Mad Margaret (who pines for Sir Despard), Old Adam Goodheart (Robin’s faithful servant), and a trio of professional bridesmaids whose job it is to be on standby each day for any potential weddings. Got all that? Tip: Read a thorough synopsis before you go. 

In this Skylight/Milwaukee Opera Theatre production, the cast also plays the part of the orchestra. Music Director Tim Rebers (who also single-handedly tackles the six-part ghostly harmony in Act Two) actually took Ruddigore’s original orchestral score and adapted it for a chorus of voices singing acapella. There are very few actual instruments played, save for a chiming music-box-like celeste, an eerie waterphone, the ding of a triangle, the woe-is-me of an accordion, and a duet between a guitar and viola. The overall musical direction is quite genius. High-five, Tim Rebers! 

And high-fives to this all-around phenomenal cast. Our leads, Robin and Rose, are played by Skylight alums Doug Clemons and Susie Robinson, respectively. Ms. Robinson’s voice is utterly sublime, her lovely stage presence perfectly befitting a leading lady. Clemons, for his part, sings beautifully clear as a bell and brings adorable charisma to the bashful, good-natured Robin. Their chemistry is sweet, their comedic timing on point. There’s nothing about this pair that doesn’t delight. 

As for the others, standouts include Adam Qutaishat as Richard Dauntless, a seafaring schmoozer with a lusty heart and dim-witted brain. This character’s heart speaks to him often, like a lovesick conscience on his shoulder. Qutaishat delivers his heart’s inner musings with an overly-dramatic French accent, inhaling deeply from imaginary cigarettes. He’s a hoot. 

The ever-awesome Diane Lane plays Mad Margaret with ample glorious insanity. Lane always slays her vocals and characterizations, but her role in Ruddigore is especially fun to watch. 

In fact, there isn’t a part in Ruddigore that isn’t fun to watch. It seems as though all of the folks on stage are having a genuine blast, and that kind of energy is infectious, especially in the intimate Studio Theatre. There’s nothing better than a show with big heart, talent, and vision performed on a small stage. 

The staging itself, as well as the costumes, takes its cues from 1920s silent films. Costumes are rendered in black and white as a projection screen lends scenic backdrops. Lighting/Projection Designer Nathan W. Scheuer nails the use of light and shadow for scenes that that, though stripped down, are plenty atmospheric. 

It’s in how these elements play together that makes Ruddigore a delicious, joy-inducing cocktail to be savored. In a nutshell, the whole thing is freaking adorable. Laughter rings hearty and true. Romance elicits little sighs. The actors are immensely amusing and strong-voiced; the acapella chorus, a delight. And sometimes, this Ruddigore is just plain lovely. Consider the bar set skyward for Milwaukee theater in 2020. 

Photo credit: Mark Frohna

Galena's Living Windows & Luminaria

A small-town Christmas weekend to charm your socks off

Channel your inner Lorelei Gilmore: We’re going to Galena, Illinois, at Christmastime to stay in a late-1800s bed & breakfast, mingle with the 50+ crowd, and hope for snow. For my mom and me, this was our third trip to Galena in four years for their weekend of Living Windows and Luminaria. 

That's when everyone in the hillside town bands together to light up the streets with Christmas lanterns — thousands of them! At the same time, the picture windows on Main Street come to life with sweet holiday scenes. We’ve slowly been fine-tuning our plans to find the perfect Galena itinerary. Here’s where we’re at after year three. 

First, to get there before dusk, make sure to leave Milwaukee by 1pm or even noon. Adjust the timing depending on your starting point, of course. Might sound wimpy, but driving winding country roads during winter after sunset is actually quite nerve-wracking. For our most recent trip, we got a bit of a late start and ended up on pins and needles watching for deer — and we saw four, one of which was standing in the road.

We stayed at the Lamberson Guest House, which I can’t recommend enough. The woman who owns it is warm as can be. She remembered my mom and me from two years ago and greeted us with big hugs. If that’s not your thing, good news: Galena is on Airbnb! So you can have your space if that's what you crave. But know that then you can’t also have warm cinnamon scones and biscuits with sausage gravy and baked apples topped with oats and cinnamon. Sometimes, it's worth the mingling and the letting down of your personal barriers. 

Lamberson also has a wine and cheese happy hour every day at 5pm, so arriving in time for that is a plus. The rooms themselves are impeccable and come complete with an electric fireplace, TV and DVD player (good for watching “White Christmas” before bed), and better soaps and such than you’d find at a hotel. Oh, and brownies wrapped in cellophane, perfect for a midnight snack. 

This year, we made reservations at our favorite restaurant, Fritz & Frites, two nights in a row. Ideally we’d make a Friday night reservation for 6:00 or 6:15. That gives you ample time to eat, then come back and enjoy your lovely room and get a good night’s rest. After all, breakfast is served Saturday morning promptly at 8:30! 

After breakfast on Saturday, shop Main Street from about 10am–1pm. Make sure to hit up The Grateful Gourmet and my new favorite boutique, Galena Apothecary. Once your tummy is rumbling mid-afternoon, check out Victory Café to see about grabbing a seat at the diner bar for a mug of coffee and a cup of soup. After that: nap time. 

On Saturday night of Living Windows and Luminaria weekend, venture out to view the windows at about 6pm. Make a dinner reservation at Fritz and Frites for 8:00, stopping at One Eleven Main for black cherry mojitos beforehand. We’d been told they’re the best drink in town and they actually lived up to the hype. 

That, or adjust your Saturday night timeline to ensure more time to see the luminaria. Some of this depends on weather. If it’s snowing and beautiful, you may want to be out in it for longer! If it’s frigid-cold, stay inside as long as possible. 

Ending with a late dinner at Fritz and Frites ensures you will see the post-9pm carolers come through. This year, they came closer to 9:30, so get the schnitzel, sip some coffee, savor the apple strudel, and relax and wait for some sweet singing to cap off your weekend. 

"The Band's Visit" comes to Milwaukee

“Nothing is as beautiful as something that you don’t expect.” 

On this Thanksgiving week, I for one am thankful for traveling musicals that make it so easy to write a review. For The Band’s Visit, I have nothing but praises to sing. This is a small, simple tale, for as the show’s bookends remind us, “You probably didn’t hear about it. It wasn’t very important.” 

This seemingly-unimportant story tells of one night in the middle of the Israeli dessert, where a troupe of musicians from Egypt end up in a tiny, unsuspecting town due to a travel mix-up. There’s no hotel in this little village and no bus back until morning, so the gentlemen in the band lean on the kindness of locals to get through the night. 

The band’s conductor is Tewfiq, an older man, quiet and reserved. He’s marvelously played here by Sasson Gabay, who is reprising the role he originated in the 2007 film. He’s also played the part on Broadway. To Gabay’s infinite credit, he succeeds in making one wonder at and care for this stoic character, even on a stage as large as the one at the Marcus Center. 

Opposite Tewfiq is Dina, owner of the town café. She’s beautiful, sensual, and tough as nails. On this warm dessert night, she attempts to awaken some long-lost feeling — not only in the traveling conductor, but herself. Critically-acclaimed actress Chilina Kennedy plays Dina, and she is exquisite. Kennedy’s voice soars and enchants as her movements transport us to that hot, sticky, dessert with its jasmine- and spice-scented breeze. She is, in a word, bewitching.

Alongside these two central figures stands a mighty ensemble of characterful personas. Bandmates and townsfolk alike, these are not one-dimensional parts. Rather, each one lures you in to make the audience feel a sense of connection. These are human stories and snapshots of life: a tired young mother, a young man who’s never kissed a girl, a clarinet player who is writing an original concerto, a boy waiting by a payphone for his girl to call. Some mourn the loss of loved ones; others celebrate the lives of those lost.  

Even in its simplicity, The Band’s Visit packs a lot of narrative into its one-and-a-half-hour, no-intermission runtime. Yet, somehow, this show takes its time as well. Characters and moments have room to breathe. There are silences, pauses, and stuttered attempts to bridge gaps in language between the Egyptian band and their Israeli hosts. One might find it slow, but I say this unhurried storytelling is positively charming. 

Filling some of the silence is a glorious Tony- and Grammy-winning score by David Yazbek. The band itself plays on stage throughout the show, lending authentic dimension to the characters and plot. It’s spellbinding to watch these musicians play so feverishly. Vocal performances are, across the board, equal to the music. 

Brilliant set design aids in the changing of scenery and flow of the story. A rotating stage takes the cast from a café to a series of apartments to a park. We even go to the newfangled town roller rink, complete with a spinning mirror ball that bathes the audience in shimmering flecks of light. It’s a gorgeous set and lighting design that makes inventive use of space and perspective. 

What kind of perspective are you bringing as you settle into your seat at the Marcus Center this holiday weekend? The Band’s Visit celebrates the intimate, authentic, and real; the facets of life that connect us and make us all human. It’s an uplifting reminder of all that we share and of what good and beauty can come when we open our doors and hearts to the unknown. This is the Thanksgiving show Milwaukee needs, and I’m so glad we’ve got it. 

Photo credit: Matthew Murphy

You too can go to Fiji!

From Milwaukee to Nadi, here's how we did it

If you want to bowl people over with shock and awe, just tell them you’re going to Fiji. That’s the response Andrew and I got from friends, family, and near-strangers. To be fair, I’d never traveled that far before. The flight is a cool 11 hours from LAX. But it’s doable! So stop looking at us like Fiji, though exotic, is some unaccessible Eden. You too can go to Fiji! Here’s how we did it. 

Getting there
Step one: Pounce on credit card deals that can earn you airline miles and hotel points. Last year we were lucky to land a one-year Companion Pass (two flights for the price of one) through a Southwest limited-time offer. Andrew trusts The Points Guy for hot tips on credit card and flight deals. 

Step two: Watch for cheap flights. Andrew and some of his travel-hungry friends subscribe to Scott’s Cheap Flights (the free version). Every so often he’ll send me a cheap flight to ogle. This time, we not only ogled — we purchased. Within ten minutes of him texting me a deal for, roughly, $395 round-trip to Fiji from LAX and me confirming that we had no plans in early November, our tickets were booked. We used Southwest credit card points coupled with our Companion Pass to get to and from LAX for nothing. That means we each got from Milwaukee to Fiji and back for under $400 round-trip. 

Due to timing of flights, we did spend one night in LA — a fun way to work a mini trip into the bigger one. We had about 36 hours there. Our flight was direct from LAX to Nadi, Fiji. From the Nadi airport (stock up on duty-free booze here!), we hopped on a tourist bus through a company called Awesome Adventures. Andrew organized our bus transportation easy-peasy with the help of our first resort, the Octopus Resort on Waya Island. 

The bus took us to Port Denarau (stock up on snacks + drink mixers here!). From there, we took the ferry that runs daily to and from the Yasawa Island chain, making a dozen or so stops total. The journey, depending on your destination, is anywhere from half-hour to four hours. The ferry flyer is as good at any at home, with a bar, bathrooms, and a top deck where they keep the killer views. 

Where we stayed
We stayed four nights at the Octopus Resort — which, more on that experience later, but for now let’s just say it was a delightful stay and we would recommend it to anyone! We found this spot on Hostel World, but it was so much more than a hostel. Tip: Weigh the pros, cons, and price of booking through a site like Hostel World vs. booking through the resort itself. Booking directly may open up perks like “stay four nights, get the fifth free!” or room upgrades. 

Most, if not all, resorts require you to purchase a meal plan or eat in designated resort restaurants. This is partly because procuring your own food on such a remote island is physically impossible, unless you fancy scavenging for fallen mangos. 

If we could do the trip all over again, we would have done more island hopping in the Yasawa Islands. We heard great things about the sister resort to the Octopus: Blue Lagoon. Staying at the Octopus for four nights was wonderfully relaxing, giving us the chance to really feel at home there. That said, you could probably have a similar experience in just three nights, then move on to another location. 

For us, after our fourth night, we hopped back on the ferry to the main island for the second half of our stay. For this leg of the trip, we stayed at the Marriott because loyalty points made it a wallet-friendly choice. Again with the points! The trouble with the Marriott is it felt very man-made and Americanized. Lovely and luxurious, of course, with an infinity pool, spa, and swim-up bar — but sort of sterile. It was certainly nice for what it was, but we’d recommend opting for something more authentic. 

On our last day, the hotel front desk coordinated taxi for us back to the Nadi airport. Really, the getting-around was very simple! 

Language & currency
Most everyone we encountered spoke English very well, so language was barely an issue. In terms of money, we took out cash from an ATM at the airport. Andrew has a checking account and debit card through CapitalOne 360 which has no foreign transaction fees for ATM withdrawals. That’s where he stores travel-specific funds and only uses the card when traveling abroad. 

Taking out $400 Fijian (about $200 US) at the airport when we arrived, we got through our 8 nights with money leftover. Resorts tend to charge everything (drinks, excursions, meals) to the room bill, meaning there’s never any money exchanged during your stay. We only needed cash for cabs and service tips. 

Speaking of tips: We learned it’s best to tip your waiter, waitress, or bartender directly in cash. Apparently some resorts (the Marriott, in this case) keep a staggering percentage of tips for themselves, leaving the staff with next-to-nothing. That’s surprising and, frankly, disappointing. Be better, Marriott! 

That about sums up the logistics of our trip. Now for some drive-by bonus tips! 

Boat shoes
When you arrive at a smaller island in Fiji, there is no traditional port or pier. There is a little boat that meets the larger ferry. The little boat then drops you off in knee-high water to wade up to your resort. Dress accordingly. 

Bring your big purse to the buffet
I don't mess around with buffet food. You pay an arm and a leg for it, so get your dang money's worth! Bring your big purse and snag a croissant for later. Or a whole wheel of cheese and pile of salami. *Pats self on back* 

Plan for the weather & activities
There may be a daily passing shower. It may cool off enough at night where you'll wish you had some kind of fetching shawl to toss about your shoulders. If you do a hike deemed "for those with good physical fitness," that might be code for "bring your hiking shoes" (more on that another time).

Overpacking
Try not to do it. Going to two resorts for four nights each? Pack four outfits and wear each twice. Fancy sandals are not necessary, ladies. The wedges and block heels I packed didn't see the light of day. I quickly learned resort life is super casual, often barefoot. Save the suitcase space and your strength — don't haul around a bunch of stuff you don't need.

BYO booze
As alluded to up top, stock up on booze and mixers before you hit the resort to avoid overpriced cocktails. If there's a happy hour deal, that's the time to snag a piña colada or two. Cheers!

"Utterance" promises the eerie & beautiful

A new work by Milwaukee Opera Theatre this Halloween

“Utterance will be like nothing you’ve seen before!” promises the Milwaukee Opera Theatre (MOT). If any other theater in town made such a wild claim, I’d probably shake my head. But with MOT at the helm, I don’t doubt it for a moment. 

Utterance is a new work that blends 16th century motets (sacred choral pieces) by Orlande de Lassus with a 2019 companion piece composed by Amanda Schoofs. 

In the case of the motets to be featured in Utterance, Artistic Director Jill Anna Ponasik says, “Each section is set to text spoken by a different sibyl. The sibyls were oracles of Ancient Greece, prophetesses said to ‘utter' their revelations… Once we had set our sights on the de Lassus motets, we asked composer Amanda Schoofs if she would write a companion piece that could be entwined."


Bringing that music to life is vocal ensemble Aperi Animam alongside flute, cello, and dance trio Cadance Collective. A Milwaukee-based vocal ensemble specializing in sacred music from the Renaissance, Aperi Animam is Latin for “open your soul.” This group of young vocalists has been praised for their innovative programming, and Utterance will surely be no exception. Lending instruments and dance to piece, Cadance Collective is a champion of music informing dance and dance informing music. 

Together, these art forms will coalesce in Utterance at the Calvary Presbyterian Church, under the aforementioned artistic direction of Ponasik and stage direction of Danny Brylow. Choreography comes courtesy of the ever-marvelous MOT favorite, Christal Wagner. 

Utterance will weave the early with the modern for a “kaleidoscopic musical tapestry.” Another big promise to make, but one I’m confident in the Milwaukee Opera Theatre to uphold. Says Ponasik: “Utterance is a truly strange and ambitious endeavor. I think people will find it inspiring. It’s spooky, eerie, and beautiful.” 

It’s also just in time for Halloween. Catch Utterance October 29th and 30th at 8pm, and October 31st at 5:30 and 8pm at Calvary Presbyterian Church.

Photo credit: Donna Miller

The Skylight presents "Oklahoma!"

A beautiful, stripped-back revival of a classic

Is there a top-notch rummage sale happening at the Skylight or is it just a backdrop for a musical? Waiting for the lights to dim, take in the marvelous clutter of instruments and antiqued-farmhouse aesthetic that fills the Cabot stage. There are rows of hanging windchimes and cowbells, percussionist pots and pans, a wooden piano, a stand-up bass, and a violin. All lay in wait as musicians and actors slowly trickle in to fill the scene with song. 

The year is 1906 and Oklahoma is on the cusp of statehood. The story mostly follows a day in the life of cowhand Curly McLain and his attempt to court Miss Laurey Williams to the box social. The two play a game of cat-and-mouse — brazen flirting one minute, cold shoulders the next. At first, the cold shoulders win out as Laurey agrees to go to the social with the sullen, unsettling Jud Fry, the hired hand at Laurey’s farm, just to spite Curley and make him jealous. There’s also a delightful secondary love story between the coquettish Ado Annie and the goony Will Parker. 

Hailing from 1943, Oklahoma! was a revelation in its day. Per the Skylight’s handy-dandy audience guide, “Most musicals were stories with songs added in where convenient, but they didn’t really advance the plot. Rodgers and Hammerstein’s Oklahoma! was the first fully-integrated musical play, using every song and dance to develop the characters and the plot… After Oklahoma! the musical would never be the same.” 

It’s neat to know how critical Oklahoma! was in terms of how it helped shape musical theater as we now know it. See this show and you’re seeing a bit of history. That said, you’re also seeing something a little dated. That’s the trouble with musicals from this era — there’s usually something that will make your skin crawl. The lurking, looming Jud was always meant to do just that, so that’s as it should be. 

But when our hero Curly sings “Poor Jud is Daid” in a casual attempt to convince his oafish, slow-witted enemy to commit suicide, one can’t help but cringe. Are we rooting for this guy? Is this just some twisted, dark humor that we all need to accept for the sake of the story? Maybe. And, to remain spoiler free, what about that ending and how quickly everything gets wrapped up so neatly? The narrative choices in Oklahoma! certainly inspire discussion in 2019.

At the Skylight, the show itself, under the ever-awesome direction of Jill Anna Ponasik, also inspires laughter, sighs, and much-deserved ovation. The set is simple: just the aforementioned artfully-staged collection of instruments set against a backdrop of open sky. The cast of 12 is small but strong, each character thoughtfully cast and pulling their weight. 

As our leads, Lucas Pastrana’s Curly and Brittani Moore’s Laurey are a darling duo. Pastrana makes for a strapping young cowhand — confident, clever, and amorous. He’s got that witty, knowing glint in his eye, the kind you’d expect from a charmer. Pastrana sings the bass-baritone part with wonderful warmth and apparent ease. An all-around solid pick for Curly. 

The relationship between Curly and Laurey hinges on a lot of coy affection and banter, which Pastrana and Moore deliver nicely. I wouldn’t call their chemistry all-out fireworks, but the two portray a courtship that’s sweetly charming. As Laurey, Moore is at once wide-eyed and winsome, sassy and steely. She’s wonderful. Moore is also a songbird with a lovely, impressive range and pretty quality to her voice. At times, she was sadly just a little hard to hear over the music. Whether that was due to the occasional softness of singing or to the mics, I’m not sure. (Edit: I've since learned that Ms. Moore had been very sick and wasn't at full throttle during the performance I saw — a worthwhile reminder that even seemingly-untouchable actors are vulnerable to bugs.) 

Supporting our two young lovers are Laurey’s Aunt Eller, played by Cynthia Cobb, and friend Ado Annie, played by Hannah Esch. Cobb makes for an Aunt Eller who is feisty and strong in both voice and attitude. Esch’s Ado Annie is a definite crowd favorite — a downright hilarious, firecracker of a performer with a powerful belting voice and spot-on comedic instincts. 

Ado Annie waffles between two suitors: the aforementioned townie Will Parker (Sean Anthony Jackson) and the worldly, sleazy traveling salesman Ali Hakim (Ethan D. Brittingham). With two funnymen this likeable vying for Ado Annie’s affection in this low-stakes secondary romance, it doesn’t much matter which of them wins the girl in the end. The fun is all in the wooing.

Also deserving of a shout-out is Jeremy Peter Johnson, this Oklahoma!’s Jud Fry. He’s both fearsome and pathetic, making one wonder if you aren’t supposed to feel a little sorry for the guy. Regardless, kudos to Johnson for giving such a layered performance. It can’t be easy playing the character everyone hates — or, to use my mother’s choice of words, the resident “slime bucket.” 

Altogether, the cast puts on a tight musical performance. The few true dancers are exceptional, namely the duo of Shephanie Staszak and Christal Wagner. Simply enchanting. A momentary music battle between percussionist Michael “Ding” Lorenz and violinist Pamela Simmons is a fun way to really make the musicians a part of the story. The entire ensemble shows their combined power through some glorious harmonizing in the show’s titular song. 

Some of this unbridled delight is a credit to how Rodger’s music and Hammerstein’s lyrics hold up so well over the decades. While the narrative may have its flaws, just like most narratives from over half-a-century ago, it’s hard to argue with gorgeous melodies and sweet sentiments. Romance and music stand the test of time, maintaining Oklahoma! as a musical theater classic. 

How will it stand up to the next 75 years? Impossible to say. I know they’re doing something newfangled in the 2019 Broadway revival, setting the story in more modern times. And this Skylight production is certainly more stripped down, relying on simple orchestrations, bare-bones sets, and a small ensemble to achieve something great. A production like this allows the strongest bit of Oklahoma! — the music — to shine. It’s creative decisions like this and give shows like Oklahoma! the best chance at survival.