The Beautiful Mornin' That Launched It All

Howdy, folks. My Sound of Music audition song was Lonely Room from Oklahoma!. Having an affinity going backwards, it was sensible to try out for Rodgers and Hammerstein's last collaboration with a number from their 1st. I aspired to surprise the creative team, choose something uncharacteristic, take on a challenge, honor Howard Da Silva and spite Senator Joseph McCarthy, too.

After being cast by the gracious directors and writing my thoughts about the 1959 Sound of Music Broadway soundtrack, I got in the mood and relistened to (most of) the 50th anniversary reissue of Oklahoma!'s original Broadway cast recording. After that natural progression, the time's come for me to enthuse the CD and tell you all about it.

Ockie and Dick began their professional partnership by penning a landmark score of catchiness. Their capabilities immediately meshed. The overture is immaculate. Even then, Richard's affluent melodies were merged magnificently with Oscar's apropos words. These songs were snugged into Hammerstein's libretto. The tunes were ahead of their times in 1943. For instance, this show's opening number was refreshingly simple. The duo had knack for writing varied, yet unified scores, that's quite evident here. There's solos, duets and group numbers. Most of the principals got their musical time to shine, which is something admirable.

A+ to those who restored the tracks, there's major clarity to them. Rouben Mamoulian's direction had a beneficial influence on this recording! It created an experience. Jay Blackton's efforts regarding the musical/choral aspects were so indispensable. The musicians knew their craft.

The original production was wonderfully cast. I'm dismayed that the performance of Jane Lawrence wasn't audibly recorded for posterity. She was an intriguing lady and idealistic for the role of Gertie "with the irritating" Cummings. The show's ensemble elevated their musical numbers and sang dandifully. Ralph Riggs' Andrew Carnes was an amusing country codger. Alfred Drake had nuanced substance as a lead and conveyed Curly's unpalatable qualities. As Laurie, the luminescent, striking Joan Roberts exuded winsome breeziness and radiance. Lee Dixon's charmingly enthusiastic Will Parker was plucky and engagingly simpleminded (his demons weren't apparent). Though she shouldn't have given notes to her peers, Celeste Holm's effervescent presence and light timing resulted in a droll Ado Annie. Betty Garde, a bold character actress, completely rocked it! She was rousing and feisty as Aunt Eller. Joseph Buloff used their expertise for the role of Ali Hakim, he underplayed the material and had impy likeability.

Let's discuss my only beef with this recording. Howard Da Silva, Jud Fry, didn't perform Lonely Room on it. Drake did. Obviously, I'm irked. Nothing against Alfred, though. Being a loyal dog, I refuse to listen to the Howard-less track in its entirety. Howard nailed the sympathetic aspects of Jud. Da Silva might've given an astute rendition of his song. He was 5'10, burly, deep-voiced, possessed blue eyes that pierced, partook in intense projects, could carry a tune and knew how to unnerve.

Minus that oversight, the recording is utterly righteous. Beforehand, it had major importance to it. It's thrilling that it was reintroduced and revitalized in 1993. The unabridged additional track (featuring Howard) was such a bonus, which I'm unbelievably thankful for. You should certainly give the album a try. Oh, and for the record, this post is dedicated to Da Silva's memory. He was one 'o the greats and underappreciated.