The classic show is brought to life with energy and vigor

As far as classic musicals go it doesn't get any better than Rodgers and Hammerstein's Oklahoma. Revolutionary when it debuted in the early 40s for its use of dance to move the story forward, the show has lost none of its charm 60 years on. That the show is still around and still as popular as ever is testament to the fact that you don't need flashy effects or tricks to win over an audience, you just need a good story and some catchy songs.

Adapted from a play by Lynn Riggs, Rodgers and Hammerstein's show tells a story of unrequited love and obsession, following Curly and Laurey, two country kids, as they realise their feelings for each other despite the attempted interference of the weird-loner Jud. Of course, Oklahoma also features some of the most memorable songs in the musical theatre repertoire, Oklahoma, Oh What a Beautiful Mornin', I Can't Say No, Out of My Dreams and People Will Say We're in Love.

Chatswood Musical Society's decision to stage Oklahoma may initially seem to be rather uninspired, despite the popularity and success of Trevor Nunn's Royal National Theatre Company production starring Hugh Jackman. After all, the show has gained a reputation (thanks in part to its popularity and minimal sets/scene changes) as being very community theatre friendly and it seems every society at some point has done Oklahoma once or twice. Ironically however, in a world where most community theatre groups are trying out more modern musicals in a bid to compete with professional shows, the decision to do a classic is somewhat daring. Heaven forbid they be considered old-hat and lose the interest of their younger members. But the people at Chatswood Musical Society needn't worry for they have produced a show that is bursting with energy and life, reminding us why Oklahoma is still going strong after 60 years.

The young cast under the direction of choreographer Laurie Tancred and musical director Rebecca Lowe do a fabulous job of bringing the show to life, infusing it with an enthusiasm that is hard not to like. The 60 strong ensemble is well drilled and Tancred's staging ensures that things never get overcrowded. In fact, one of the most surprising parts about this production is the level of talent throughout the cast, not only do they sing but they also move exceptionally well. There are certainly no stragglers here, hiding up the back a step out of time with everyone else, the cast (whose ages seem to range from about eight to sixty) kick up their heels with abandon, pulling off some rather complex routines.

The show is dominated by two impressive female leads, Elli Green (Laurey) and Caitlin Street (Ado Annie) who are as good as anything you'll see on the professional stage at the moment. Green in particular possesses a true movie star quality, she seems as if she has stepped straight out of a 1940s movie-musical with Fred Astaire. Lachlan O'Brien as Curly sings well but takes almost all of act one to find his character while John Hogan (Will) and Graham Bone (Ali) provide excellent support.

If there was one downfall about this production it would be a few lengthy scene changes and the obvious appearance of some stage crew, but those things are easy to overlook when everything else is working so well.

Going and seeing a musical and being entertained isn't as cut and dried as it used to be. With a lot of drivel passing itself off as entertainment it is refreshing to see a show and walk out happy.

You can hear an interview with Matt Cater from Oklahoma in episode 28 of Stagecast