Oklahoma!, Richard Rodgers and Oscar Hammerstein’s first collaboration, often gets credit for several innovations in American musical history — being the original folk musical or the first to integrate book, music and dance — although experts have pointed to antecedents in most categories. Most often and appropriately, it’s simply called “America’s most beloved musical.”

So it’s a bit sad that the version Moonlight has mounted to kick off its 30th anniversary season is less than rousing. Its shortcomings aren’t major but prevalent enough to crimp the evening.

For instance, on opening night, the sound system or Peter Hashagen’s design was off. The high ranges of female voices, singly or in groups, seemed to overwhelm the miking with shrillness, turning screams into shrieks and exaggerated speaking or laughing into eardrum challenges.

The prime victim, under Kathy Brombacher’s loose direction, was Bets Malone as Ado Annie. Her overdone performance as the town’s “cain’t say no” flirt wasn’t helped by the audial emphasis. And Michaelia Leigh, tentative with Laurey’s dialog, had her soaring soprano notes distorted. Occasionally, the overall sound just faded and swallowed some lyrics, notably with Joey De Benedetto’s Jud.

Bets Malone and Jason Maddy

Photo by Ken Jacques

For anyone who — after thousands of performances over the decades since 1943 — still might not know the basics, the musical is based on Lynn Riggs' 1931 play, Green Grow the Lilacs, about Oklahoma in 1906, as the Territory prepared for statehood. The underlying theme is the conflict between cowmen and farmers, but the musical gives little notice to that, instead focusing on the allegorical budding romance between cattle-wrangler Curly and farmer’s daughter Laurey, menaced by hired hand Jud. A humorous subplot involves Ado Annie and her inability to choose between a local cowboy who loves her and an itinerant Persian peddler who doesn’t.

Brent Schindele made a likable and capable Curly, although he could use a better hairpiece, one befitting his name. His singing topped the cast, which generally, solo and in chorus, honored the show’s classic score (musical theater just doesn’t have any two better opening songs than “Oh, What a Beautiful Morning” and “Surrey With the Fringe on Top”).

Carlos Martin, as Annie suitor Will Parker, was the cast’s best all-round actor, singer and dancer. De Benedetto managed to evoke some sympathy as the villainous Jud. And Jason Maddy, as the peddler, provided fine vocalizing, limber legs, the most consistent accent and the majority of the evening’s laughs.

Local reliables Sandra Ellis-Troy, as Laurey’s Aunt Eller, and Ralph Johnson as Annie’s father connected solidly, with Ellis-Troy’s singing wisely kept to a minimum. Karla Ruth Gilbert, as town ditz Gertie, certainly fulfilled the role’s main requirement — an ear-grating giggle, again intensified by the sound.

One of the most-praised elements of the original Oklahoma! was Agnes de Mille’s choreography, particularly the 15-minute “dream ballet” — Laurey’s envisioning of Curly and Jud struggling over her — that closes the first act. At Moonlight, Roger Castellano has tried to emulate and build upon de Mille’s ideas.

Some dance numbers succeed — Will and his pals high-kickin’ through “Kansas City” — and some don’t. The dancers representing Curly and Laurey aren’t up to the usually lengthy pas de deux, so Castellano has to rely more on choral segments. Because many of the numbers and steps are repetitious, some shortening would help, especially in the long first act. More audience members than usual didn't wait until intermission to head for the rest rooms.

Chrissie Munich’s lighting enhances that “beautiful morning” as well as supplying a golden sunset and a vivid orange for the dream ballet. The uncredited sets, probably imported, look authentically plains western, with one exception. A scrim depicts a woodsy glade, supposedly misty. But the fog looks like water, so some characters seem to be clothed in a pond.

Sue Givens managed the props, highlighted by that wonderful surrey, while Moonlight regulars offered their usual dependable work. Carlotta Malone and Roslyn Lehman coordinated the western dress, distinguishing cowman from farmer, and Elan McMahan again contributed as musical director and conductor of the 20-piece orchestra.

This production is likely to improve over the run, as the cast gets more comfortable and tech glitches fade.

Incidentally, as most everyone knows, R&H’s “Oklahoma” became the state’s official song in 1953. But did you know that in April, the state also adopted an official rock song — the Flaming Lips’ "Do You Realize??"

No, I don’t know that song, either.

Cast and credits