DRAMA MAMAS and PAPAS WANTED  

FOR HELP WITH the spring musical!

May 12, 13, 18, 19 and 20 at 7 p.m. and matinee at 2:00* p.m. on 5/20

See what jobs are available and volunteer to be part of our great parent team!  

In return, you can see the show for free that performance!  

Helpful things you can do!

  • Provide water and/or snacks on a DRESS REHEARSAL DATE: May 8-11 after school
  • Provide water and/or snacks for backstage before a show (see dates above)
  • Help with the Ice Cream Social on May 20 after the matinee
  • Help feed the cast and crew after the matinee on May 20
  • Help decorate and set up the lobby before the shows start
  • Help host/supply food for the cast party after the evening show on May 20 (50 participants...)

Jobs on the performances dates:  Be there at 6 p.m. for evening shows

  • Need one or more parents to be responsible for decorating the lobby with items provided.   This can be done ahead of time and also will involve some last minute work. Also will need  to be taken down at end of performance run.
  • Need one “GREETER” per show to stand at front door and greet people. Separate the people into the right lines — “will call tickets” and “purchase tickets at the door”. This will help make the lines move faster and also keep down the number of folks crowding into the lobby.
  • Need one “TICKET TAKER” per show to stand just inside the auditorium and take tickets for ALL people coming in the door. Simply tear the stub off and direct them to an usher, who will then seat them and provide a program. Requires making sure that people don’t crowd past you.
  • Need two or three “USHERS” per show to stand in various places in the auditorium. Help patrons find their numbered seats in the right row, help elders if needed, answer questions if needed. This should streamline getting folks seated and ready for the show to start on time.
  • Need two “CONCESSIONS SELLERS” per show to set up and sell water. Involves keeping track of inventory and money box resolution at end of night.
  • Need one “WILL-CALL TICKETS” person per show to sit at table in lobby and look up alphabetically filed envelopes containing tickets that were pre-ordered. Give the tickets to the patron and deal with any questions which arise. Direct them to the door to the ticket taker.
  • Need two “SELL TICKETS AT DOOR” people to sit at table in lobby and sell tickets to folks who come to purchase tickets that night. This involves pre-learning the computer ticketing system!!! It also will involve money handling and resolution.

We will train you and provide everything needed to do your job – just bring your enthusiasm!

Parent Volunteer Response Form

Name ____________________________________________________ cell______________________

Email ____________________________________________________  ON Facebook? _____

I will work the following shows:  (all require coming at 6:10 p.m. except as noted)

_____Friday, May 12                         ____Thursday, May 18           _____Saturday MATINEE (be there 12:30pm)

_____Saturday, May 13                     ____Friday, May 19               _____Saturday, May 20 evening

_____I am interested in the following job(s): ___________________________________

_____Or put me where you need me

____I can supply water  OR Snack during one of the dress rehearsals for the kids.  May 8   9  10  11 after school

____I am willing to help set up and service ice cream at the Meet and Greet after the matinee at approx.. 3 pm.

____I am willing to help feed the cast and crew dinner on May 20th between shows in the ZHS commons.

____We would like to host the cast party on May 20, 9:30-midnight.

____I can help decorate the lobby all country style before May 12th.

Zillah High School--5th Avenue Judges comments

Oklahoma! 2017

Direction: 

A: Truly, a solid understanding of the story from both the students on stage, but a solid understanding of THEATRE from everyone in the room.  I think it speaks volumes of the human being in charge, when I'm seated and given a program and made to feel comfortable by an ushering staff, informed of running time by the woman selling water, and told by volunteers that the aisles are used.  It's a sign of a cohesive department that runs like a well-oiled machine. It takes the guess work out of enjoying a piece, and I applaud your go-getted-ness in making that information clear and concise amongst your amazing group of folks.  I think the students did a fabulous job. Really. I think you have a solid foundation of actors who get it, and a new group of people who are well on their way to getting it. I think crafting moments where there are natural leaders and those who can observe and learn on stage was evident in this production.  Kansas City, The Auction - pretty much every group number - You could see those students watching and keeping tabs on the older students, and self-correcting in front of us - It was wonderful to see.   

B: Kudos to this director who created with her production staff the most fun and funny Oklahoma! ever!  The amount of humor throughout the entire show - the cast was well prepped in comedic timing - kept the audience involved, and the spirits rising higher with each passing scene until everyone was totally engaged in everything happening on that stage.   
*Strong connections were built with every character in every scene, building strong bonding.  Each line of each scene was given measure, reflecting every mood of every piece of dialogue.   
*This director used every bit of space possible on her small stage, extending up the house aisles. 
*Fight choreography was noisy and ambitious:  that being said, there were moments when there was a need for a fight choreographer's ongoing guidance to ensure safety.  Especially of concern were the Act I Dream sequence fight and the Act II Farmer and Cowman brawls. 
*Appreciated the attention paid to what each member of the ensemble had to offer as an individual.  It generated strength in the believability of the storytelling. 
*All staging was designed in a manner to bring attention to the main action occuring ... the actors were focused, prepared, used excellent projection, and were having the time of their lives.   
*Selecting a "dated" musical show to produce can be risky; and yet, this production felt fresh, bringing validation to a time in history when pioneers struggled and worked together in collective action to bring about a better future for the next generation.    
Again, hats off to this director for her belief in the story, her cast/crew/staff, and her community.  It resulted in an evening of pure joy! 

C: The director's vision was a warm and openhearted production that embraced the community on stage and the community in the audience. It began at the top of the show with Curly singing "Oh, What a Beautiful Morning' " as he entered through the house and welcomed the audience.  Making Laurey a tomboy in overalls at the top makes her transformation into her party dress all the more fun.  And the women's ensemble (often overlooked when the cowboys seem to have all the fun) was made more interesting by giving them sharper individuality than is often the case. The tap dancing twins were a hit.  It was an interesting choice to use the same cast for dream Laurey, Curly, Jud. Continue to work to insure that text is a priority and that all students are on top of lines and cues. Throughout, there was the community, providing balance and comfort.   

Musical Direction: 

A: Diction, Diction, Diction. Really hone in on those consonants, and bite and chew every word.  They may be Farmers and Cowmen, but they certainly were understood when they needed to be. Aunt Eller was a brilliant example of the crisp diction combined with the lack-a-daisical attitude of Oklahoma. In terms of group numbers, diction certainly comes in handy - it's a wall of sound coming from the group of students who are excited to be singing with everyone else on stage. Harnessing the STORY behind why ALL of them are singing is truly what's important.  Why are we singing about this Territory all of a sudden?  And why are we up to each other's necks in Farmer and the Cowman.  How does each VERSE of Farmer and the Cowman CHANGE as the song progresses?  Are they getting more annoyed with each other?  More tense? Finding the story behind every sung line is so so so important in telling stories in musical theatre. It's Shakespeare with a melody. Make it clear as day for us. 

B: It can be a great challenge for performers to follow a tracked accompaniment.  With help, this cast was able to jump in with enthusiasm, and were excellent at following the arc of the tempi from fast to slow to a rallentando, etc. 
*"Many a New Day" - Kudos! Every high note was in pitch with this group of gals, an often difficult achievement. 
*"It's a Scandal" - the guys - ALL projecting with such great energy! 
*"Poor Jud" - brought out the very best in this actor.  His dynamics, expression, were wonderful. 
*"People Will Say We're in Love" - Curly and Laurey were lovely. 
*Could the tempi on the tracked accompaniment be adjusted?  The square dance number seemed too fast for the actors, in that words flew by so quickly that good diction was not possible ... we lost the story there. It was even fast for the usual square dance.  Most of the singers shaped their lyrics with expressive diction and dynamics.  
*Ensemble numbers, chorus, solos, etc. all were performed with lovely expression. 
*Occasional pitchiness:  continue to teach the singers a strong connection to breath support to help keep pitches centered.  
*Oklahoma! couldn't have been more fun - so rousing with great rhythms running under.  It practically brought the audience to their feet ... which the curtain call most definitely did!

 

C: The ensemble numbers were lively and full sounding, the Curly and Laurey duet "People Will Say We're in Love" was sung with real feeling and humor.  And Jud's song "Lonely Room" held real pathos.  At the top of the show, "Oh, What a Beautiful Mornin'" invited people in, and "Surrey With the Fringe on Top" took us on an imaginary journey and told us just how Curly feels about Laurey and what their life will be like together.  Nice work.

 

Choreography/Staging:

A: Just the insane amount of enthusiasm dripping off that stage in those group numbers - It was so amazing to watch.  Oklahoma! will forever be burned into my memory with those moves.  It was crisp, clear, and the choreography told a hopeful story of a new state to come, and a new opportunity for every one of those people in the town, it was great.  Staging was equally as hopeful and informed the mood so well.  The whole ballet was sequence after sequence of great storytelling. And the greatest thing about that Act I Finale Ballet - every movement counts.  It requires such focus and concentration on the body, and the face - you don't have any words to help you inform the mood or the story.  It all has to come from the core inside of you and emanate from your limbs. Continue to pinpoint those moments in future shows and treat them with the utmost care - every movement counts when there's no words or singing to help you out.  Brava.

 

B: Pioneer spirit abounded with enthusiasm and energy throughout all the dance numbers in this show.
*Not only did the rousing "Farmer and Cowman" energize the audience to clap along, but the sheer length of the number tested the "true grit" of the dancers.  This number was a square dance, yet also used its standard movements creatively to bring in tap, folk-ballet, and "stomp" in isolated moments of such inventiveness!  Brava!
*Each dance differed with the mood of the song, enhancing the romanticism of "People Will Say We're In Love," or telling the story by "acting out" the lyrics of "Surrey," or the comedic antics of Ali Hakim and the Menfolk in "It's a Scandal! It's an Outrage!"
*Loved that the beginning of Act II actually started with the cast clapping the intro to "Farmer and Cowman" behind the Grand Drape ... by the time the curtain opened, the entire audience was clapping right along!

*Staging of all numbers created interest, excitement and fun for the receptive audience, including the cameo moments spotlighting the more experienced dancers.
*Kudos to the cast/staff for impressive choreography - talented and skilled staff provided the cast with the opportunity to shine ... and the committed actors, indeed did shine.

 

C: The choreography in the big numbers "Kansas City" and "The Farmer and the Cowman" was lively and exciting.  Will Parker was fearless and seemed to defy gravity. Be sure that fight choreography is addressed with even more care than dancing.  All moves must be rehearses, not only for the safety of the performers, but also so that the audience doesn’t get pulled out of the story with worrying that a student could actually get hurt.

 

Orchestra:

A: I think it would be very helpful to have a bit more of a monitor situation ON the stage for the actors, if at all possible..  There was a bit of craning taking place during the show as actors tried to hear tempos.  But BRAVA for planting someone in the front row to conduct.  She needn't fear being bigger to help those students out, though. Be big and proud!

 

Scenic Design:

A: This was such a lovely set - Basically a Unit situation, with a few roll-on flats here and there (and of course a surrey). I think the size of the set kind of brought the show into a less expansive feel, though. Things felt a little too large for that space, and constricted the movement a little bit.  Oklahoma! is so very much about the open skies, the wide prairies and expansive spaces. I think Jud's smokehouse was BRILLIANTLY done.  It was so detailed, and wonderful to see these two fine actors interact with the space.

 

B: Concerned about their small stage, very little wing space or backstage space, and often having to take movable set pieces outside on to the balcony in order to accommodate the next scene, the set designers built hinged, wheeled, movable pieces.  That being said, by curtain time, every scene made excellent use of projections, and set pieces that rotated - a front of house with porch (clothesline, too), and a well-dressed smokehouse, and Ali Hakim's Sundries cart, a Surrey, and a rocking chair, providing the basic pieces reflecting the characters' attributes. Congratuations.
*The stage apron featured layered trees house left and a fenced cornfield house right, both creating setting and a sense of the country.
*Projections were terrific: from skies, clouds, and fields to a dream sequence mirroring the moods/emotions being played out by the dancers, to a lovely starry night, the projections were well-selected to the story.
*The entire set was evocative of Pioneer times - the people who lived there, working the land.  Complete, colorful, size appropriate and providing adequate space for the dances, this well-executed set provided all the necessary pieces to a successful design.

C: The projection screen on the back wall gave us the Oklahoma sky and fields, the night sky, and a variety of dreamscape images during the dream sequence.  Laurey's farmhouse with porch and upstairs window anchored Stage Right for much of the show.  The smokehouse was reversible but challenging to shift, so always keep ease of movement for the ongoing flow of the story when considering your design elements.  And the pride of all on stage, and rightly so, was the real surrey with the real fringe.

Lighting Design:

A: Such wonderful colors - I'm so impressed by this plot.  I think in the future, specificity is really going to be your friend.  Colors, you've got, for sure.  I think choosing where that color goes, and exactly what you want to light is really the next step toward a killer design. Taking some of those washes and breaking them up into specials to really highlight some important moments in the show.  I must say, though, the Ballet at the end of the First Act was top notch, brava. 

B: Throughout the entire show, we were deftly focused to the central action.  Isolations were well-executed and proved effective.
*Colors were used to enhance emotions, e.g. "Poor Jud" lit with red light during the appropriate angry sequences.
*Matching the moods of scenes, the lights would change: for example, as the Surrey slowed down "Surrey With the Fringe on the Top," lights came down and a spot focused on Curly and Laurey. However, "The Farmer and the Cowman" was brightly and cheerfully lit.
*Also enjoyed the combination of artful set and light design: e.g. the starry night projection coupled with low lights.

 

C: The lighting worked well.  The performers were always clearly seen.  The projections helped fill in the sense of time of day from early morning through day to dream sequence to evening.

 

Costume Design:

A: Every single actor on this stage was dressed to the nines in cowboy / farmer gear. Honestly, I would expect nothing less for a school on this side of the state - I grew up just an hour away - So I have an eye for an authentic representation of this part of the costume world.  Above all - fit was incredible.  Each actor seemed to have chosen that pair of jeans or that dress and lived it in for years. Fit is so important to making an actor feel comfortable on stage - to not have to worry about anything but telling a story.  I think you nailed it.  

B: Good work creating the Pioneer/settler look with costumes.
*Especially nice work with the cowboys - boots, hats, vests, and plenty of patches on the pants.
*Ali Hakim's green vest with shiny buttons seemed to fit his personality perfectly.
*Gals wore appropriate dresses for "Many a New Day," and Laurey looked perfect in overalls and a plaid shirt while on the farm, becoming quite fetching in Act II.
*Care was given to location:  on the farm Aunt Eller wore an apron over her dress; in Act II, she was decked out in a lovely red skirt/blouse combination.
*This show had a lot of dance numbers:  costumes were built to allow the performers a full range of motion. 
*I  think my favorite costume was for Andrew Carnes when he first appeared carrying a rifle, rabbits hanging from his pants, and wearing a raccoon hat.  What a character!

 

C: The costumes generally worked well with a few minor issues. Curly's boots didn't seem to offer much support, making him prone to slipping and tripping onstage.  Two of the cowboy hats, Will's  and the Marshall's appeared to be shellac or plastic coated straw?  This made Will's hat clank when it hit the stage.  But the girls looked wonderful in their dresses for the box social.

 

Hair & Make-Up Design:

A: Some solid looks from the men in this production - brava!  An even more excellent collection of dos from the women folk in town, though.  Such careful attention to detail throughout the cast of women, get those men folk on board with ya!  Tiny, tiny detail, but something that will go a long way: powder.  It's a hot room with that many lights going full blast right above you, feel free to powder yourself at intermission, and keep things looking cool and calm under those lights. 

 

B: Care was taken to provide a number of different hairstyles for the actresses, matching function with character personality.  Laurey's long red hair looked great; Ado Annie wore very blonde ringlets with bows girly style.  Aunt Eller's gray wig suited her very well.
*Old grisly Andrew Carnes' beard appeared  a bit overdone, and, beyond that, it seemed to interfere with his speech, so be sure to test that our in rehearsal and make adjustments to make sure the look doesn’t obstruct the storytelling.
*Some shows have found that using a strong-holding hair spray (like Freeze) is helpful for holding hairstyles in place an entire show, despite active/several long dance numbers.
*Guys might want to use a little mascara to make their eyes stand out, allowing the audience to more easily see features.

 

C: Most of the girls fared well with their natural make-up and long hair done in natural styles.  Aunt Eller's gray wig was neat and simple, suiting the character.  Ado Annie's wig was a platinum Shirley Temple ringlets, but she carried it off.  A few of the boys seemed a little overwhelmed by their massive beards.  Jud was suitably scruffy.

 

Stage Crew:

A: There were some large pieces in this show - some a little too large for just a few folks to handle. It's a smaller space that your theatre has and that's tricky, I imagine.  Continue rehearsing as thoroughly as possible to make the movement of the sets as good looking as the set pieces themselves.  Brava for those actors who jumped in to help with the moving of the pieces around the stage. 

 

B: *Good swift action changing those sets!
*Sound cues very effective, especially the loud gun shots.  Also enjoyed the bird songs and crickets at night.
*Coordinated and well-prepared teamwork.
*Micing was uneven at times (Laurey seemed to need her mic turned up higher).
Shout out to the crew for all their hard work!

 

C: Getting that surrey on and off was a major accomplishment.  The crew had a difficult task setting up Jud's Smokehouse and bringing out all the set pieces.  It took some time, but it looked wonderful. I would encourage you to over-rehearse any movements that are problematic to lessen any awkwardness that could arise.

Lobby Display:

C: The lobby was wonderfully decorated with western themed antiques, pictures, articles which even spilled out into the outside area.  I would suggest a sign warning patrons that there will be loud gunshot sounds during the show.

 

Performer Categories:

 

Sarah Beth Van Corbach (Character):

A: Ms. Laurey Williams - You have a lovely voice!  It was such a treat to hear this score handled so beautifully.  Continue to hone in on moments where you can truly connect with your leading man, and your arch nemesis. Don't be afraid to stand your ground and just let them have it - plant your feet and roar!  One of the reasons Laurey is so enduring is her ability to resist the slimy dude, and also keep the cowboy punk at bay until the end of the story.  She's her own woman, and you did such a wonderful job of making her a strong individual to watch.  Keep exploring that vein of storytelling - really recognizing those moments that make her vulnerabilities work in her favor, and show her true strength.  - A lovely job.

B: We saw this Laurey build a lovely character arc from the somewhat uncertain young lady to a happily married woman.  Her songs with Curly were lovely and expressive.
*Slowing down her dialogue would enable her to speak with more clarity and keep from sounding as if she is rushing her lines.
*During solos, such as "People Will Say We're in Love" she carried her melodies totally in pitch.  When singing with the rest of the gals - "Many a New Day," the higher pitch seemed to be more of a stretch for her.  Perhaps taking a strong breath/using breath support could help.
*Great spunky repartee with Curly!

C: This actress gave a very believable, heartfelt performance as Laurey as she struggles to decide for herself what she wants and what she feels.  Her duets with Curley are funny and natural as they argue their way into and out of agreement.  Her scenes with Aunt Eller are simple and moving.  A particularly fine moment is in the reprise of "People Will Say We're in Love" when Laurey is alone and allows her guard to drop.  Her confusion overwhelms her in a quiet moment until Aunt Eller brings her dress and it's time to transform.  A greater focus on her breath support and diction will help her to be heard and understood in those heightened moments when she is flustered or fighting off Jud.  This was a warm and honest portrayal of Laurey.

 

Kobe Trego (Character):

A: Bravo, you cowboy!  I think you did a wonderful job with this part.  You kept the calm, cool, collected air of Curly and added in your own special blend of insecurity and darkness. Your work in the smokehouse with Jud was really, really wonderful to watch. Continue to focus on listening while you're on stage. I know you probably ARE listening at all times, but make sure you're reacting to the other character, and not just when it's your turn to speak again. Listening on stage is the most important part of imparting a story to the audience.  In listening you react, and that's truly the most powerful thing - the reaction BEFORE the line, that the audience sees.  Keep engaged and keep attentive at every moment in the show, it's exhausting of course, but that's the most exciting thing to watch, not an actor speaking, but an actor listening. 

B: This actor carried his role connecting well with all in the cast.  He certainly did know how to give Laurey a bad time, yet with a sparkle in his eye. 
*Super, super scene with Jud:  "Pore Jud" flipped back and forth from funny to sometimes scary.
*At times the singing was a bit pitchy:  some have found that making sure that there is enough breath/breath control will help.
*Loved the enthusiasm and energy that surrounded his every scene.  He played a big part in keeping the pacing going.
*When singing, his dynamics and expression were wonderful.
*Great sense of comedic timing ... he helped to make Oklahoma! a wonderfully fun, funny show!

 

C: The winning personality of this actor shines through as Curly.  From the top of the show as Curly sings "Oh, What a Beautiful Mornin' " with a warm and open sense of welcome, he is the confident, big-hearted cowboy in love with Laurey.  He is bemused by her stubbornness, but never really in doubt.  And when called upon he steps up.  His easy relationship with the other characters (with the exception of Jud, of course) helps to knit the story together and strengthens the sense of community.

 

Reigna Bower (Character):

A: I mean. I don’t think I've ever seen a sassier, more hilarious Aunt Eller.  Timing was incredible, one-liners were spouted with aplomb, and you can move it around that stage with the best of 'em!  It was such a joy to see you having so much fun on stage - all while being such a grounded character that helps the audience know what's happening to all these OTHER characters at any given moment.  It was truly wonderful to watch you work.  Keep on keepin' on.

B: Kudos to this Aunt Eller who exhibited an out-going fun personality from her first line onward.  She had perfect delivery every time. 
*Her comedic timing was flawless, taking the time to give proper measure to the meaning of the dialogue. 
*Her stage presence was amazing, yet she knew when to pull back and give the attention to others:  she formed excellent connections with every character around her. 
*Even when engaged in a simple action such as churning butter, her focus was always sharp. 
*Excellent singing voice!
*Everyone looked to her because she was a good organizer, knowing how to get things done without being bossy about it.  She embodied the hard-working, caring spirit of the Pioneers with tons of spunk, exhibiting the energy of a younger woman. 
*She was adorable when pairing with another ("Surrey" with Curly; "Kansas City" with Will).
*In short, she was the perfect Aunt Eller!

 

C: This actress is right at home as Aunt Eller.  We hear her every word, and she makes sure we know precisely what she means.  She clearly enjoys her role as matriarch, and she takes full advantage of her dance turn with Will Parker.  This Aunt Eller is right at the center of the action.  She rules the roost.

 

Mason Bower (Andrew Carnes):

A: Some of the driest humor I've witnessed on stage - it was perfect for Andrew Carnes. One-liners were delivered with such lack of empathy, such dry and brittle wit, it was like watching Melba Toast - just perfectly dry, which is exactly what this part calls for.  That and a giant beard.  Double Check on this - bravo.

 

Levi Nelson (Will Parker):

C: This actor's performance as Will Parker was great fun.  He seemed to take special delight in keeping the entire company on its feet and dancing as long as possible.  It was especially entertaining to watch him continually losing track of Ado Annie.  "Kansas City" was amazing.

 

Chorus:

A: SUCH incredible enthusiasm from every single student on that stage.  I thoroughly enjoyed watching every one of your process up on stage.  Every single one of you had a fully fleshed out character, and most impressive of all, every one of you was actively engaged during ever sequence.  I've DONE that auction before - close to a hundred times.  If I hear 'TWO BITS!' one more time, I'd probably scream.  But the entire cast moved their heads like a tennis match between Curly and Jud and Aunt Eller throughout every bid, letting the tension build, keeping focus exactly where it needed to be.  It was lovely to watch.  And you were all lovely to listen to.  Keep working on diction - a pervasive challenge for every space you'll ever work in - biting and chewing every single consonant until you can't feel your mouth is exactly what every actor should be doing at al times. 

 

B: Kudos to this cast for bringing to the stage such a fun version of Oklahoma!
*You had the audience laughing with you at all the comedic parts of the story that you brought to life.
*Your song and dance numbers were full of energy and animation as well as being full of expression and artistry.  Faces wore big smiles, and feet moved in a such a variety of interesting ways - tap, ballet, "stomp," etc.
*Many of you projected very well out to your audience; keep on working on that since it is one of the aspects of delivery that endears you to an audience.
*For those who felt a bit of discomfort being on the stage - that will pass with more experience and extra hard work at rehearsals.
*Excellent phrasing and interpretation from all.

C: This chorus was wonderfully versatile.  They were farmers, ranchers, cowboys, and farmers' daughters.  And they were individuals, like the small cowboy with the mop of curly hair, or the tap dancing twins who didn't look alike but dressed alike.  These actors made every moment onstage count as they interacted with each other and sang and danced their hearts out.  They kept the energy high with their exuberant, joyful performance.

Additional Comments:

Evaluator A: I thought this production was exceptional. From downbeat to curtain call I was enthralled in the characters, immersed in the comedy as well as the darkness - a sign of solid direction. Some beautiful colors with the lighting design that illuminated a very clever set - a set built to make the space seem MUCH larger than it truly was.  Very impressive.  I think what truly struck me about this production was the level of commitment from every member of the cast. These seemingly outdated characters were given new life with these student's interpretations of Laurey, Curly, Will, & Ado. The darkness of the tension of Curly and Jud especially seemed like a fresh new take on the age-old storyline.  I think it was wonderfully crafted overall. On the other end of that same coin, however, I think it should be said that there is a fine line that one can cross in performance that takes the light-hearted improvised lines, and turns them into something that has a direct affect on the story being told - Unless it's written on the page of the script, words shouldn't truly be let fly by actors so the audience can hear them.  Each story is carefully crafted and every word / lyric chosen for a reason.

Evaluator B: What a great job of story-telling!  Your audience was highly entertained throughout the entire evening.  The comedic timing, enthusiasm, energy, happy smiling faces, and love of the story of Oklahoma!, all added up to creating a memorable show.
The beautiful program was much appreciated, including interesting facts, bios from the cast, pictures of rehearsals, a Senior tribute page, also recognized the patronage of the community through its ads.  Support of the production was evident.  Community involvement was wide, as witnessed by the Special Thanks page acknowledgements.  Lovely to have a surrey on stage!  (Compliments of the Central Washington Agricultural Museum).
There are many in the cast and crew deserving of Shout-outs, so here are a few:
*Gertie:  loved the focused, having fun, bringing a new and refreshing side to Gertie's personality.
*Jud:  from his first "Hello yourself," Jud received a (negative, knowing) reaction from the audience ... excellent delivery!  Kudos to Jud and Curly for a super, super smokehouse scene.  Excellent interpretation of lines; excellent rhythm and diction. 
*Will Parker:  great acting instincts (caught Ado Annie's little fall and worked it seamlessly into his dialogue).  A natural, out-going, fun-loving, caring guy who could motivate those around him.  Wonderful sense of comedic timing.
*Ali Hakim:  Probably the most likeable salesman ever - loved that smiley face and great eyes, so expressive!
*And to the lovely exchange student Intan: happy to see you on stage, and appreciated your bio's advice!

Evaluator C: This was a warm, heartfelt production of OKLAHOMA! that invited the family audience into the world of the play with the first appearance of Curly entering from the wings and through the house, interacting with the audience. The projections on the screen at the back of the stage gave us the Oklahoma sky and landscape.  Laurey's farmhouse and the reversible smokehouse anchored the story.  The very large cast performed with great excitement, opening night jitters, and enthusiasm.