Oklahoma!
Show Details
Performance Schedule
WEDNESDAY, FRIDAY & SATURDAY @ 8 PM
WEDNESDAY & SATURDAY @ 2 PM
SUNDAY @ 3 PM
Run Dates
Upcoming Scheduled Events
Running Time
Show Description
After a sold-out, critically acclaimed run at St. Ann’s Warehouse, Oklahoma! comes to Broadway for a strictly limited engagement.Seventy-five years after Rodgers & Hammerstein reinvented the American musical, this is Oklahoma! as you’ve never seen or heard it before, reorchestrated and reimagined for the 21st century.
Stripped down to reveal the darker psychological truths at its core, Daniel Fish’s production tells a story of a community circling its wagons against an outsider, and the violence of the frontier that shaped America.
Upending the sunny romance of a farmer and a cowpoke, this Oklahoma! is “thrilling, audacious, and delightful. A rollicking good time" (The New York Times)
Audience Advisory
Mature content - performance contains fog, loud gunshots, moments of darkness, and violence.
Tickets
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Standard Tickets
March 14, 2019 - January 19, 2020
Wheelchair seating is always available.
For Show Times, see Performance Schedule above.
Use the standard ticket button to purchase tickets.
Theatre Details
Address
Circle in the Square
1633 Broadway
New York, NY 10019
Public Transportation
By Subway: 1, C, E to 50th St
By Bus: Take the M7, M20, M50, or M104 bus.
Additional Accessibility Details
Wheelchairs: Four sections of wheelchair seats in the last row, no stairs required.
Seating: Theatre is 10 rows deep, with entrance at the level of the last row with no stairs. All rows in front of that require small stairs
Elevator\Escalator: There is an escalator down to the theatre level from the box office. An elevator is available that is accessible through the adjoining building, and an usher is available to escort patrons from the box office to the elevator.
Parking: SVI Permit. Lot: 50th St. between Broadway & 8th Ave. Valet parking garage: Arcade next to theater.
Entrance: Double doors (each 35") at street level to box office.Escalator or thirty steps down to lower levels. Alternate entrance: Doors (each 34") through 1633 Broadway office building to elevators. Theater staff must be alerted to allow person using elevator into lower levels of theater. Tickets must be purchased before entry to lower levels of theater.
Box Office: 50th St. Ground floor. Counter 43".
Restroom: Womens: 1st lower level (theater level). Through double doors (on level ground near elevators) into hallway through door (33") to restrooms. Door 28.5". Stall door 22".Mens: 1st lower level. Door 25.5". Stall door 22.5".
Water Fountain: Theater lobby (1st lower level), next to bar. Spout 42" No clear space
Telephone: A telephone is located outside the washrooms.
Folding Armrests: No seats with folding armrests are available. There are four sections of wheelchair seats instead.
Reviews (3)
NYT Critic's Pick
The performances are looser and bigger; they’re Broadway-size now, with all the infectious exuberance you expect from a great musical. Making his Broadway debut as a director, Mr. Fish has reconceived a work often seen as a byword for can-do optimism as a mirror for our age of doubt and anxiety. This is “Oklahoma!” for an era in which longstanding American legacies are being examined with newly skeptical eyes.
Presented Off Broadway at Brooklyn’s St. Ann’s Warehouse last fall, Fish’s stunning revival, with its country & western musical stylings, rockabilly cats, chili at intermission and blood on the tracks, has found its perfect Broadway home at the in-the-round Circle. With the house lights turned up through most of the running time – when darkness occasionally enters, it’s total – Oklahoma! has us all at the barn dance. Everyone is complicit.
The production has gotten fuller, freer, and funnier in its Broadway transfer. Its remarkable actors — especially Damon Daunno’s cocky, come-hither Curly McClain and James Davis’s ebullient, a-couple-knots-short-of-a-lasso Will Parker — feel loose, confidant, and playful, as if they’re all taking deeper breaths and, consequently, greater risks. At St. Ann’s Warehouse, the performances had a veneer of experimental coolness, a dry, distanced note in the delivery, as if the actors were standing a little apart from their characters and, along with the audience, observing these familiar figures they’d been given to play. Though that sense of comment remains — and Mary Testa and Rebecca Naomi Jones continue to make the most of it as a wry, ruthless Aunt Eller and a Laurey flush with intense, reserved desire — the characters’ humanity now feels as present and comprehensive as the director’s style.