Oklahoma Musical Quotes

Would Eric enjoy being a Sooner? As I navigated through Shreveport, I wondered if Oklahoma vampires wore cowboy boots and knew all the songs from the musical.

I ain't sayin' I'm no better than anybody else, but I'll be damned if I ain't just as good!

In the space of a few generations a city with a population slightly less than that of present-day Stillwater, Oklahoma, produced the greatest outpouring of artistic achievement the world has ever known.

Helene Hanff, an aspiring playwright who had been put to work in the Theatre Guild press office, remembered trying to generate some effective publicity for Away We Go! “This was, they told us, the damndest musical ever thought up for a sophisticated Broadway audience,” Hanff wrote. “It was so pure you could put it on at a church social. It opened with a middle-aged farm woman sitting alone on a bare stage churning butter, and from then on it got cleaner.”16 It was the kind of Americana that Larry Hart distrusted. But at the New Haven tryout he tried to keep an open mind. Of the songs in Away We Go!’s first act, five of them—“Oh, What a Beautiful Mornin’,” “The Surrey with the Fringe on Top,” “Many a New Day,” “People Will Say We’re in Love,” and “Out of My Dreams”—were destined to become instant classics, with “All Er Nuthin’” and “Oklahoma!” delighting the audience in the second act. But Larry wasn’t so delighted. He might have regarded “We know we belong to the land” as a professionally crafted line, as resonant to recent immigrants as to Mayflower descendants; but “The land we belong to is grand”?

It was in Oklahoma, within a month of her arrival, that they established the Fuck Yorick School of Forensics. This was not just a principle of necessary levity but the name of their bowling team. Wherever she worked, first in Oklahoma, then in Arizona, her cohorts ended the evenings with beer in one hand, a cheese taco in the other, cheering or insulting teams and scuffing along the edges of the bowling alleys in their shoes from the planet Andromeda. She had loved the Southwest, missed being one of the boys, and was now light-years beyond the character she had been in London. They would go through a heavy day’s work load, then drive to the wild suburban bars and clubs on the outskirts of Tulsa or Norman, with Sam Cooke in their hearts. In the greenroom a list was tacked up of every bowling alley in Oklahoma with a liquor license. They ignored job offers that came from dry counties. They snuffed out death with music and craziness. The warnings of carpe diem were on gurneys in the hall. They heard the rhetoric of death over the intercom; ‘vaporization’ or ‘microfragmentation’ meant the customer in question had been blown to bits. They couldn’t miss death, it was in every texture and cell around them. No one changed the radio dial in a morgue without a glove on.

In other words, Berlin conceived shows as events more than as works. As a result, Berlin’s shows do not exactly represent the most enduring oeuvre in the American theater: only Annie Get Your Gun, the show that least obviously addresses its time, has enjoyed an unbroken string of productions that stretches from its premiere to the present. Yet by engaging with the here-and-now, with no apparent thought of posterity but mainly of the “mob” before him, Berlin distilled and packaged musical comedy conventions that resonated in the theater deep into the twentieth century even as they held to comedy’s ancient ideals. Above all—and this I think manifests the engine that drives all of his work—Berlin seems to have understood and embraced the idea that American musical theater is always, inescapably, about itself. He probably would have scorned the term metatheater, but the boot fits. All of his stage shows and films are in some way about theater, about putting on a show, about performing in public, and about the place that tested his mettle and nourished his craft: New York City. This is the case even in shows that are not chiefly set in New York. Annie Get Your Gun may be widely considered one of the “Western” musicals of the Oklahoma! age, but it is above all a show about “show business,” and it all takes place east of (or near to) the Mississippi River and ends up in New York, with plenty of swinging tunes that resonate more with postwar Manhattan than with Annie Oakley’s earlier America in Darke County,

Verse speakers and opera singers could learn a great deal if they listen to all forms of popular music from Billie Holiday to Edith Piaf, where the passion, the feeling, the intonation, the tempo all arise from the word. In Broadway jargon, this is called ‘reading’ a song. I once asked Richard Rodgers, composer of Oklahoma! and countless other musicals, whether he had a stash of melodies in a top drawer, waiting to be used. ‘Of course not!’ he said. ‘I need the words.’ Like every composer of songs, it is the words that are proposed by a lyric that awaken the tune”.

To quote Reckless Kelly: 'White picket fences look a lot like iron bars and a pink house with shutters reminds me of old gray walls.' Chasing Red Dirt music around the world does not. It feels normal and natural, almost as if it is where I am supposed to be and what I should be doing.

Within the last few years, I personally have been hearing this phrase a lot: 'Shut up and sing,'" {Brad] Piccolo [of the Red Dirt Rangers] said. "In other words, 'We don't want to hear a musician talk about politics.' Well, for me, the response is, 'Fuck you.

There is exactly enough of me that is aware of that to make me into someone vaguely normal. Like a guy who takes the trash out and buys replacement hand mixes parts online and usually does not show up to work hungover anymore. The part of me who knows this is how I have to be is always in conflict. He is in conflict with the bigger, stronger, louder part of me who does nothing but hover over the normal me, 24/7, reminding me that I could be at a Red Dirt concert somewhere at that exact moment.

Always an innovator, Agnes de Mille found the solution and coined the word “choreographer” for her work on the Broadway musical Oklahoma!

didn’t doubt Eric loved me, just as I knew Pam loved her ailing Miriam. But I didn’t know if Eric loved me enough to defy all his maker’s arrangements, enough to forgo the leap in power and status and income he’d gain as consort of the Queen of Oklahoma. Would Eric enjoy being a Sooner? As I navigated through Shreveport, I wondered if Oklahoma vampires wore cowboy boots and knew all the songs from the musical. I wondered why I was thinking such idiotic thoughts when I should be preparing for a very grim evening, an evening I might not survive.

The focus of that week was “learning how to listen to the voice of God” in what was dubbed “My Quiet Time with God.” You have to admire the camp leaders’ intent, but let’s be honest. Most pre-adolescents are clueless about such deeply spiritual goals, let alone the discipline to follow through on a daily basis. Still, good little camperettes that we were, we trekked across the campground after our counselors told us to find our “special place” to meet with God each day. My special place was beneath a big tree. Like the infamous land-run settlers of Oklahoma’s colorful history, I staked out the perfect location. I busily cleared the dirt beneath my tree and lined it with little rocks, fashioned a cross out of two twigs, stuck it in the ground near the tree, and declared that it was good. I wiped my hands on my madras Bermudas, then plopped down, cross-legged on the dirt, ready to meet God. For an hour. One very long hour. Just me and God. God and me. Every single day of camp. Did I mention these quiet times were supposed to last an entire hour? I tried. Really I did. “Now I lay me down to sleep . . . ” No. Wait. That’s a prayer for babies. I can surely do better than that. Ah! I’ve got it! The Lord’s Prayer! Much more grown-up. So I closed my eyes and recited the familiar words. “Our Father, Who art in heaven . . .” Art? I like art. I hope we get to paint this week. Maybe some watercolor . . . “Hallowed by Thy name.” I’ve never liked my name. Diane. It’s just so plain. Why couldn’t Mom and Dad have named me Veronica? Or Tabitha? Or Maria—like Maria Von Trapp in The Sound of Music. Oh my gosh, I love that movie! “Thy kingdom come, Thy will be done . . . ” Be done, be done, be done . . . will this Quiet Time ever BE DONE? I’m sooooo bored! B-O-R-E-D. BORED! BORED! BORED! “On earth as it is in Heaven.” I wonder if Julie Andrews and I will be friends in heaven. I loved her in Mary Poppins. I really liked that bag of hers. All that stuff just kept coming out. “Give us this day, our daily bread . . . ” I’m so hungry, I could puke. I sure hope they don’t have Sloppy Joes today. Those were gross. Maybe we’ll have hot dogs. I’ll take mine with ketchup, no mustard. I hate mustard. “And forgive us our trespasses, as we forgive those who trespass against us.” What the heck is a trespass anyway? And why should I care if someone tresses past me? “And lead us not into temptation but deliver us from evil . . . ” I am so tempted to short-sheet Sally’s bed. That would serve her right for stealing the top bunk. “For Thine is the kingdom and the power and the glory forever.” This hour feels like forever. FOR-E-VERRRR. Amen. There. I prayed. Now what?

The final extirpation of Indian Country was a profoundly important event for Native Americans. Two decades later, the Cherokee playwright Lynn Riggs set out to tell the tale. Riggs conceived and wrote his play in Paris—he frequented the café Les Deux Magots, where Ernest Hemingway and F. Scott Fitzgerald were also scribbling away. But his mind was on his childhood home. The result, Green Grow the Lilacs, offered a wistful celebration of Indian Country on the cusp of change. It is a gentle, nostalgic play, though with a defiant ending. When, in the last act, a federal marshal appears on the scene, the characters refuse to cooperate with him, explaining that they are “jist plumb full of Indian blood” and that they regard the United States as a “furrin country.” With that uneasy confrontation, the curtain falls. Riggs’s play was well received when it debuted in 1931. Today, however, it is remembered less on its own merits than as the basis for the musical Oklahoma! by Richard Rodgers and Oscar Hammerstein. “I kept most of the lines of the original play without making any changes in them, for the simple reason that they could not be improved upon—at least not by me,” Hammerstein told the press.

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Shaking his head on a laugh, Tripp remarked, “Darlin’, you are Trouble with a capital T.” “Wrong musical, big guy. We’re from Oklahoma. And you know what that means, don’t you?” He hung his head. “Oh boy, do I ever.

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