Overview
Synopsis
The first collaboration of famed partners Richard Rodgers and Oscar Hammerstein II, Oklahoma! set the American musical theatre standard. Set in Western Indian Territory just after the turn of the 20th Century, the spirited rivalry between the local farmers and cowboys provides the backdrop for the love story between Curly, a handsome cowboy, and Laurey, a beautiful farm girl. The road to true love is anything but smooth, but there is no doubt that these two romantics will succeed in making a life together. As the road to romance and the road to statehood converge, Curly and Laurey are poised to spend their new life together in a brand new state: O-K-L-A-H-O-M-A - OKLAHOMA!
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Context
Rodgers and Hammerstein’s Oklahoma! marked the dawning of a new era in American musical theatre. It also began the most successful songwriting partnership that Broadway has ever seen.
In 1942, Richard Rodgers and Lorenz Hart were highly successful, having written musical comedies that were praised for their wit and sophistication. A decade prior, Oscar Hammerstein II enjoyed similar success writing innovative operettas that consistently reshaped the art form. Showboat, his 1927
to read the context for Oklahoma! and to unlock other amazing theatre resources!Plot
Act One
In 1906, in the Oklahoma territory, a handsome cowboy Curly McLain admires the beautiful morning and looks forward to the wonderful day to come as he wanders into a local farm girl, Laurey Williams’, yard (“Oh What a Beautiful Mornin’”). He and Laurey engage in some innocent flirtation while Laurey’s Aunt Eller keeps a watchful eye. There is going to be a box social dance that evening, during which local girls will be auctioning off baskets to raise money for the local
to read the plot for Oklahoma! and to unlock other amazing theatre resources!Characters
| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
Lead |
Male |
Bass-Baritone |
|
|
Lead |
Female |
Soprano |
|
|
Lead |
Female |
Mezzo-Soprano |
|
|
Lead |
Male |
Tenor |
|
|
Supporting |
Female |
Mezzo-Soprano |
|
|
Supporting |
Male |
Bass-Baritone |
|
|
Supporting |
Male |
Baritone |
|
|
Supporting |
Male |
Baritone |
|
|
Featured |
Female |
Spoken |
|
|
Ensemble |
Male |
Baritone |
|
|
Ensemble |
Either Gender |
Soprano, Mezzo-Soprano, Alto, Tenor, Baritone, Bass |
Songs
Act One
- “Oh What a Beautiful Mornin’” - Curly
- “The Surrey with the Fringe on Top” - Laurey, Curly & Aunt Eller
- “Kansas City” - Will Parker, Aunt Eller, Male Ensemble
- “I Cain’t Say No” - Ado Annie
- “Many a New Day” - Laurey and Female Ensemble
- “It’s a Scandal! It’s an Outrage!” - Ali Hakim and Male Ensemble
- “People Will Say We’re in Love” - Laurey and Curly
- “Poor Jud Is Daid” - Curly and Jud Fry
- “Lonely Room” - Jud Fry
- “Out of My Dreams” - Laurey and Female Ensemble
- “Dream Ballet” - Laurey and *Dream Figures
Act Two
- “The Farmer and the Cowman” - Andrew Carnes, Aunt Eller, Curly, Gertie Cummings, Will, Ado Annie, Laurey, Ensemble
- “All Er Nuthin’” - Will and Ado Annie
- “People Will Say We’re in Love" Reprise - Laurey and Curly
- “Oklahoma!” - Curly, Laurey, Aunt Eller, Ensemble
- “Finale Ultimo” (“Oh What a Beautiful Mornin”, “People Will Say We’re in Love”) - Company
A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character's name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.
Monologues
Scenes
Key Terms
A classical dance form used in theatre for expressive movement, storytelling, and interdisciplinary performance.
The art of designing and arranging movement sequences for theatrical dance and physical storytelling.
A non-literal theatrical scene representing a character's inner thoughts, fears, or desires, often surreal in style.
A period of artistic flourishing, often referring to 1940s-60s Broadway or English Renaissance theatre. This term plays a vital role in understanding theatrical structure and is commonly encountered in stagecraft or performance settings.
The “Golden Age Musical” refers to Broadway shows written roughly between the 1940s and 1960s, a period known for integrating songs, story, and character development. These musicals often balanced romance, comedy, and social themes with memorable melodies and large ensembles. Classics from this era continue to shape the foundation of modern musical theatre.
An “I Want Song” is a number, usually placed early in a musical, where a main character expresses their deepest desire or ambition. This song sets the character’s journey in motion and gives the audience a clear emotional stake in the story. It has become one of the most recognizable and enduring conventions of musical theatre structur
Short for 'legitimate theatre,' referring to traditional stage drama as opposed to musical or commercial performance. The term is also used to describe a classical vocal tone suitable for operatic or legit musical theatre roles.
A revival is a new production of a play or musical after its original run has ended, often reimagined for a new generation of audiences. Revivals may stay faithful to the original staging or update elements like design, casting, or interpretation. They are a cornerstone of theatre tradition, keeping classic works alive and relevant.
A production created to showcase the talents of a specific star performer, often tailored to their strengths.
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