By Sandi Masori
SAN DIEGO— In a fitting send off for its last show at the Theater in Old Town before moving to its new home at The Joan in Liberty Station, Cygnet Theater is performing the classic western musical Oklahoma.
Maximizing the small stage to great effect, the scenic design by Mathys Herbert is very simple, but effective, with the background walls suggesting a barn of some sort. The main part of the stage is empty, leaving room for the large cast to dance. Small props like a rocking chair or butter churn are brought on and off the stage as needed. They also make great use of the space in the audience itself, with actors going up or down the audience stairs at times while saying their lines to enter or exit the stage, even breaking the fourth wall at times to great effect.
For those unacquainted with the classic story by Jewish duo Rodgers and Hammerstein, it’s set at the turn of the 20th century as Oklahoma is getting statehood and is really a comedy about two love triangles. The first between farmer Laurey (Ariella Kvashny) and cowboy Curly (Michael Louis Cusimano) with complications from the creepy farmhand Jud Fry (Jacob Caltrider). The second is between Ado Annie (Jazley Genovese), cowboy Will Parker (Eli Wood) and Persian peddler Ali Hakim (Ricky Bulda). Hakim doesn’t really want to get married, but his proclivities for short term fun may have seen more than one shotgun pointed at him. As the couples figure out their hearts’ desires, chaos and commotion ensue.
Jewish community and San Diego native Kvashny shines in her role of Laurey. Wood, a staple in San Diego theater, once again shows why he is one of the most-cast local musical theater actors. Linda Libby is nothing short of phenomenal as Aunt Eller, and Genovese’ Ado Annie is adorable. Ado Annie has one of the more known songs in the show, “I’m just a girl who can’t say no.”
I liked Bulda’s portrayal of the peddler, but did find it strange that the character is supposed to be Persian but is played by an Asian man with what seems to be an Italian accent. We speculated that it was done that way to make him seem less trustworthy, but it did take us out of the play trying to figure it out. Uber-talented Bulda does justice to the part with his perfect comedic timing and rubber face, so I wonder if it would be less confusing to drop the references to him being Persian, lose the accent, and to let the actor carry the part on his own.
Another slight critique, I thought that Caltrider’s Jud was too nice, and not as sinister as he needs to be for the audience to hate him as much as they need to.
Back to compliments, many of the actors were quadruple threats- proficient not only in acting, singing and dancing, but also skilled with a guitar as well. I was really surprised by the number of actors who picked up an instrument to play along at various points throughout the show. And speaking of music, the onstage musicians led by Patrick Marion are incredible and as much a part of the show as the actors themselves.
Though the show is long, running almost three hours, it’s a delight for young and old alike. And you still have plenty of time to catch it as it plays through August 2.
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Associate Editor Sandi Masori is a theater and restaurant reviewer for San Diego Jewish World.