A unique revival of Rodgers and Hammerstein’s classic, Oklahoma. The orchestration is beautiful and fits the songs better than other version I’ve seen. Danny Daunno is a tour de force and reinvents the character of Curly. Ali Stroker’s, “I Caint Say No” is in my opinion, the best recording of the number. Overall the cast does an amazing job taking this show to new heights.

I wasn’t expecting to like this at all, but I ended up loving it.

Correct, not my Mom’s Oklahoma. So much sexier and gritty. Damon sings the hell out of Beautiful Morning and Surrey. Loved seeing the show in person. Everyone is fantastic. Ali’s song is masterful

With the exception of Ali Stoker who’s character is supposed to slightly off key and comical, every person in this cast has a horrible voice. Trying to get by using a phony country warble when you can’t hit the right note, doesn’t cut it in a show as iconic as OKLAHOMA! The producers of this show should never be let within 100 feet of another O & H musical EVER! What a joke.

I’m sorry, I’m sorry. The Dream Ballet was unwatchable in the theatre and it’s unlistenable here. OTHERWISE, wow, what a suburb capture of this alluring, erotic, feisty interpretation of Rodgers and Hammerstein’s score. Every syllable is dripping with subtext, and I’m so happy this album stands firmly on its own as a valid, riveting chapter in this show’s long and beautiful life. These are the kinds of risks that keep theatre thriving and rich and very much alive. It’s lovingly produced and perfectly performed by a cast that comes at you like a bolt of lightning. Listen to this and let it not threaten your affection for the traditional OKLAHOMA! you know so well. Theatre is interpretation, NOT repetition. Enjoy.

Please go see this musical and buy this Cast Recording. I promise you won’t regret it. As soon as you hear Damon Daunno’s version of “Oh What A Beautiful Mornin!” you will see what a musical revival should be like.

Overall this production and album of the classic musical is great. However there are some slight issuses. The lack of and Overture is a slight misstep, and so is the lack of a finale ultimo as that was a calling card for Rodgers and Hammerstein musicals. Also, I would've loved to see how Daniel Kluger would've tackled the Overture with a 7 piece band. My two main grievances come in Jud's song "Lonely Room" and the "Dream Ballet". Firstly, I don't think David Vaill was the right choice for Jud, he's simply not big and menacing enough. I mean IDK about Laurey but I'm not "afraid of his arms". Second in the song he talks about her "yellow hair". But wait, he's into Laurey right? I mean that's the whole love triangle! He sounds like he's describing Ado Annie. In the 1998 recording the changed it from yellow to tangled which makes more sense considered in this production Laurey is black and thus has black (not yellow) hair. My second issue is with the Dance Ballet which is essentially an electric guitar solo. This album does a great job of only using instuments that might've been around in the OK territory in 1906 but electric guitar was not one of them so they throw this notion away which is a shame. So overall a good album, but not without it's problems.

I own the original cast recording of Oklahoma on vinyl and it’s amazing, but so this. This is an amazing revival.

For the longest time, I’ve had a personal distaste for Rodgers & Hammerstein’s "Oklahoma!" This came down to three elements: the music didn’t fit, most of the characters seemed hokey or phony, and most of the serious elements were either glossed over or treated like jokes. So when I heard about this revival, I thanked God. This, in my opinion, should be the definitive version of "Oklahoma!" The serious elements are not only acknowledged but expounded upon, the characters have actual depth instead of just being cookie-cutter stock characters, and the music…. My GOD, the music! I haven’t been able to see the show yet, so I’ve been waiting for months to hear this album. Not only does the music fit the period far batter than the original (suiting the already perfect lyrics), but these might be some of the most haunting AND enchanting orchestrations I’ve ever heard. You’re doin fine, Oklahoma. #OklahomaOK

One of the most transformative pieces of theatre I’ve ever seen, this is not to be missed