Oklahoma! BBC Proms


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Oklahoma!

Cowboys and farm girls are let loose in the Royal Albert Hall as the John Wilson Orchestra transports us to the Great American Plains for Rodgers and Hammerstein's first musical.


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The John Wilson Orchestra are setting up camp

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in The Royal Albert Hall, so get your bandanas and breeches

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at the ready for a Rodgers and Hammerstein classic.

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Welcome to Oklahoma! at the BBC Proms.

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Hello from me Katie Derham and the whole Proms team

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here at the Royal Albert Hall, where we're in for a "darn

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Richard Rodgers and Oscar Hammerstein II,

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creators of Carousel, South Pacific, and The Sound

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of Music, and one of the most famous musical writing partnerships

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in history, marked their first major collaboration -

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and their first runaway hit - with the stage musical Oklahoma!

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The rural setting, celebrating farming life rather than urban

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glamour, really struck a chord with an American public who'd

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endured the Great Depression and devastating Dust Bowl storms

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of the 1930s, as well as the on-going Second World War.

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Oklahoma! evoked a more optimistic time

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The story is delightfully uncomplicated.

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and we're on a ranch in Oklahoma territory.

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The skies above are blue and the corn's "as high

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as an elephant's eye" and fun-loving matriarch Aunt Eller sits

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Curly, a local cowboy, comes to call.

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And so ensues a folk tale revolving around the simple question -

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who will take our heroine Laurey to the dance?

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Laurey and singing cowboy Curly are childhood friends and seem

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destined to be together, but they go out of their way

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Meanwhile, ranch hand Jud Fry has developed a dark

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obsession for Laurey, which soon causes trouble.

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Widely regarded as a seminal work of its time, Oklahoma!

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is often cited as the first musical to weld together song,

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story and dance together in harmony ? and here at the Royal Albert Hall,

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the John Wilson Orchestra is joined by a spectacular,

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hand-picked cast, to bring this much-loved story to life.

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I saw the performance this afternoon and I can tell you that y'all

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And await the arrival onstage, John Wilson, the conductor of this

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orchestra. There is the leader, Michael Trainor, taking a bow. Two

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are very excited crowd here. To a packed hall. And any minute now, the

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man himself will appear. John Wilson, who first conducted this

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work when he was 14 years old, can you believe that? There he is.

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Enormously popular figure here at the Proms. So, to conduct this newly

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edited reconstructed scorer of the original Broadway version of

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Oklahoma. # There's a bright,

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golden haze on the meadow # The corn

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is as high as a elephant's eye # And it looks like it's climbing

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clear up to the sky # Oh,

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what a beautiful day # I got

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a beautiful feeling # Everything's

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going my way # All the cattle are

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standing like statues # All the cattle are standing

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like statues # They don't turn their heads

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as they see me ride by # But a little brown maverick

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is winking her eye # Oh,

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what a beautiful morning # Oh,

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what a beautiful day # I got

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a beautiful feeling # All the sounds

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of the earth are like music # The breeze is so busy it don't

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miss a tree # And a old weeping

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willer is laughing at me! # I got a beautiful

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feeling If I wasn't a ole women,

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and if you wasn't so young and smart-alecky - why,

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I'd marry you and get you to set Cos I wouldn't marry you nor none

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of your kinfolks, I could help it. And you can tell them that,

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all of them including that niece of yours and,

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Miss Laurey Williams! Aunt Eller, if you was to tell me

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where Laurey was at, For as far as I can make out,

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Laurey ain't paying you no heed. Where'd you get such a uppity niece

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that wouldn't pay no heed to me? Who's the best bronc buster

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in this here territory? And the best bull-dogger

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in 17 counties? And looky here, I'm

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handsome, ain't I? And bow-legged from the saddle

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for god knows how long, ain't I? Well, what else does she want

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then, the damn she-mule? Who you taking to the

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box social tonight? Oh,

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I thought you was somebody. # I got a beautiful feeling

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everything's going my way #. Is this all that's come calling

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and it's already ten o'clock You knew it was me before

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you opened the door. You heard my voice

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and knew it was me. I heard a voice talking rumbly

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along with Aunt Eller. And heard someone singing

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like a bullfrog in a pond. You knew it was me, so you set

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in there thinking up I'm a good mind not to ask

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you to the box social. If you did ask me,

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I wouldn't go with you. You ain't bought a new buggy

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with red wheels onto it, have you? And a spanking team

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with their bridles all jingling? Expect me to ride on behind

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ole Dun, I guess. You better ask that ole Cummins girl

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you've tuck such a shine to, If I was to ask you,

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they'd be a way to take you, # When I take you out tonight

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with me, honey # Here's the way it's

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going to be # You will set behind a team

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of snow white horses # Chicks and ducks and geese better

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scurry # With the fringe on top!

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in the surrey # Watch that fringe and see how it

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flutters # When I drive them

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high-stepping strutters! # Nosey-pokes will peek

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through their shutters # The wheels are yellow,

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the upholstery's brown, # With isinglass curtains you can

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roll right down # In case there's a change

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in the weather # Two bright side lights,

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winking and blinking # Ain't no finer rig,

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I'm a-thinking! # You can keep your rig if you're

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thinking that I'd care to swap # For that shiny little surrey

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with the fringe on the top! # Would you say the fringe

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was made of silk? # Wouldn't have no

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other kind of silk # Has it really got a team

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of snow white horses? # One's like snow,

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the other's more like milk # When I take you out in the surrey

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with the fringe on top! # When we hit that road,

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hell for leather # Cats and dogs

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will dance in the heather # Birds

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and frogs will sing all together # The wind will whistle

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as we rattle along # The cows will moo

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in the clover # The river will ripple

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out a whispered song # Don't you wish

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you'd go on forever? # Don't you wish you'd go on forever

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and you'd never stop # In that shiny little surrey

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with the fringe on the top? You'd sure feel like a queen sitting

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up in that carriage! Only she talked so mean to me

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a while back, Aunt Eller, I bet he went and hired

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a rig over to Claremore Spent all his money hiring

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a rig and now ain't got Have, too!

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Did not hire it. Made the whole thing

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up out of my head. What?

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Made it up? Oh!

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Get off the place, you! Aunt Eller, make him get

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himself out of here. Making up a few purties ain't

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against' no law that I know of. Don't you wish they was

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such a rig, though? Then you could go to the play party

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and do a hoedown till morning if you was a mind to,

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then when you was all wore out, I'd lift you onto the surrey,

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and jump up alongside of you and we'd just

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point the horses home. # When we ride back

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home in the surrey, # Feel a sleepy head

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near my shoulder, # Nodding, drooping close to my

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shoulder # The sun is swimming

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on the rim of a hill, # And just as I'm thinking

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all the earth is still, # A lark'll wake up

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in the medder # Hush!

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You bird, my baby's sleeping, # Maybe got a dream

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worth a-keeping, # Whoa!

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You team, and just keep creeping You said you made

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the whole thing up. Why'd you come around

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here with your stories and lies, Talking about the sun

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swimming on the hill, Who'd want to ride

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alongside of you anyway? Why haven't you just

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grab her and kiss her when she acts that-a-way,

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Curly? Oh, I won't even speak to him,

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let alone allow him to kiss me, the bragging,

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bow-legged, If she liked me any more she'd

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sit the dogs onto me. There's always a crowd

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of folks coming down Curly said maybe you'd loan

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us your big wagon to bring them We got to talking about

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a lot of other things. I'll go hitch up the wagon now

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if you say it's all right. Ain't nobody can sling a rope

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like our territory boys. Don't you remember,

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her paw said if I ever was worth 50 dollars

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I could have her? That what they give

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you for prize money? 'Lands, if Ado Annie's paw

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keeps his promise we'll be If he don't keep his promise, I'll

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take her right from under his nose, and I won't give him

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the present I brought for him. Look, fellas,

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what I got for Ado Annie's paw! You hold it up to your

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eyes, like this. Then when you get a good look,

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you turn it around at the top How do you turn the thing

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to see the other pitcher? I'm a good mind to tell

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Ado Annie on you. Bet you carried on plenty

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in Kansas City. But I sure did see some

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things I never see before. # By Saturday,

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I learned a thing or two # For up to then I didn't

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have an id'y # Of what the modern

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world was coming to! # I counted 20 gas buggies

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going by themselves # Then I put my ear to a bell

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telephone # And a strange woman

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started in to talk! # Everything's up-to-date

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in Kansas City. # They've gone about

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as far as they can go! # They went and built a skyscraper

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seven storeys high # About as high as a

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building ought to grow # Everything's like

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a dream in Kansas City # It's better than

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a magic lantern show # You can turn the radiator

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on whenever you want some heat # With every kind of comfort

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every house is all complete # You can walk to privies

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in the rain and never wet your feet # They've gone about

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as far as they can go! # They've gone about

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as fur as they can go! # Everything's up-to-date

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in Kansas City # They've gone about

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as far as they can go # They got a big theatre

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they call a burleekew # For 50 cents you can

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see a dandy show # One of the gals was fat

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and pink and pretty # As round above

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as she was round below # I could swear that she was padded

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from her shoulder to her heel # But later in the second act

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when she began to peel # She proved that everything

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she had was absolutely real # She went about as

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far as she could go! # She went about as

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far as she could go! This is the two-step.

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That's all they're dancing nowadays. Ketch on to it.

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A one and a two, a one and a two. # And that's about

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as fur as I can go! # And that's about

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as far as she can go! What you doing now, will?

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That's ragtime. Seen a couple of city

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fellas doing it. # And that's about

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as far as he can go! 'Lo, Curly.

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Can't stop to talk. Going over to Ado Annie's.

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I got 50 dollars. Thanks for the loan

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of the wagon, Aunt Eller. Who's the low, filthy

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sneak that Laurey's There must be plenty of men

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trying to spark her. Well, they is that fine farmer,

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Jace Hutchins, just this side of Lone Ellum - then that ole widder

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man at Claremore, makes out he's Then of course there's

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someone nearer home that's got her on his mind most

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of the time, till he don't know Now don't you go and say

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nothing against him! Well, two women couldn't do it,

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you ought to know that. Laurey would take up on behalf

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of a man like that!? Well, he's around all

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the time, ain't he? Changed my mind about cleaning

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the henhouse today. Got to quit early cos I'm driving

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Laurey over to the party tonight. Well, wouldn't that

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just make you bawl! And if you make up a nice box

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of lunch, maybe I'll bid for it. I'll ride a straddle of them lights

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winking like lightning bugs! That there ain't no

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made-up rig, you hear me? When I come calling for you right

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after supper, see that you got your beauty spots fastened

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onto you proper, so you won't lose # The wheels are yeller,

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the upholstery's brown, # With isinglass curtains

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you can roll right down, # in case there's a change

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in the weather...# See you before tonight

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anyways, on the way back # Ain't no finer rig,

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I'm a-thinking # That I'd care to swap

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for that shiny little surrey Hey, Curly, tell all the girls

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in Bushyhead to stop That means we'll

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have a lot of company. Aunt Eller, don't go

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to Skidmore's with Curly tonight. If you do, I'll have

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to ride with Jud all alone. That's the way you

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wanted it, ain't it? But I'm afraid to tell

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Jud I won't go, Aunt Eller. He makes me shiver ever time he gets

:32:37.:32:42.

close to me ever go down to that ole Did you see them pitchers he's got

:32:43.:32:50.

tacked onto the walls? Something wrong

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inside him, aunt Eller. I hook my door at night

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and fasten my winders against it. Against it and the sound of feet

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walking up and down there under that Mornings he comes to his breakfast

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and looks at me out from under his eyebrows like something back

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in the brush somewhere. Stop acting like a chicken

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with its head cut off! Now who'd you reckon

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that is drove up? The one that sold me

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that egg beater! Told' me that egg beater would beat

:33:25.:33:27.

up eggs, and wring out dishrags, and turn the ice cream freezer,

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and I don't know what all! I didn't count on him

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being back so soon! The peddler man's going to drive

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me to the box social. Have you tuck up

:33:58.:34:02.

with that peddler-man? But your promised to

:34:03.:34:08.

will Parker, ain't your? They won't never be

:34:09.:34:13.

nobody like Will. They won't never be

:34:14.:34:29.

nobody like him neither. Well, which one do

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you like the best? Now, Laurey, you know

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they didn't nobody pay me no mind up to this year,

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count of I was scrawny Then I kind of rounded up

:34:48.:34:50.

a little and now the boys I like it so much when a fella

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talks purty to me i get Don't you feel kind of sorry

:34:55.:35:04.

for a fella when he looks Well, you just can't go around

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kissing every man that asks you! # It ain't so much a question of not

:35:18.:35:22.

knowing' what to do, # I knew what's right

:35:23.:35:39.

and wrong since I been ten # I heard a lot of stories,

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and I reckon they are true # About how girls

:35:46.:35:53.

are put upon by men # I know I mustn't fall

:35:54.:35:58.

into the pit, # but when I'm with

:35:59.:36:03.

a fella - I forget! # When a person tries to kiss

:36:04.:36:10.

a girl # I know she ought to

:36:11.:36:30.

give his face a smack # But as soon as someone

:36:31.:36:33.

kisses me # I somehow sort of

:36:34.:36:35.

want to kiss him back! # I'm just a fool

:36:36.:36:44.

when lights are low # When a fella gets flirty

:36:45.:36:46.

and starts to talk purty? # Supposing 'at he says

:36:47.:37:10.

'at your lips're like cherries, # Supposing 'at he says 'at you're

:37:11.:37:15.

sweeter than cream # What you going to do

:37:16.:37:25.

when he talks that way, # I hate to disappoint a beau

:37:26.:37:32.

when he is paying a call # For a while I act

:37:33.:37:51.

refined and cool, # Then I think of that old golden

:37:52.:37:59.

rule, # And do for him what

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he would do for me! # Something inside of me

:38:03.:38:06.

snaps # Other girls are coy and hard

:38:07.:38:20.

to catch, # But other girls

:38:21.:38:55.

ain't having any fun # Every time I lose a wrestling

:38:56.:38:59.

match It's like I told you,

:39:00.:39:02.

I get sorry for them! I wouldn't feel sorry for any

:39:03.:39:42.

man, no matter what! I'm sure sorry for

:39:43.:39:50.

pore Ail Hakim now. Look how Aunt Eller's

:39:51.:39:52.

cussing him out! You sure for sorting you love him

:39:53.:39:54.

better than you love will? And now that ole Will has come home

:39:55.:40:00.

and first thing you know he'll start talking purty to me

:40:01.:40:09.

and changing my mind back! But how I know is he said this

:40:10.:40:13.

morning that he wanted for me to drive like that with him

:40:14.:40:23.

to the end of the world. Well, 'f we drove only as fur

:40:24.:40:31.

as Katoosie that'd take Then, we'd have to go somewhere

:40:32.:40:34.

and be all night together, and being all night means he wants

:40:35.:40:38.

a wedding, don't it? If the egg beater don't work I give

:40:39.:40:43.

you something just as good! It's got to be a thousand

:40:44.:40:54.

million times better! Jippety crickets, how

:40:55.:40:57.

high you have grown up! Last time I come through here,

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you was tiny like a Now look at you -

:41:06.:41:07.

a great big beautiful lady! If you ain't had no breakfast go

:41:08.:41:14.

and eat yourself a green apple. Now, Aunt Eller, just listen -

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i ain't your Aunt Eller! Don't you call me Aunt

:41:19.:41:21.

Eller, you little wart. Must be wanting something -

:41:22.:41:51.

a purty young girl like you. Want a buckle made out of shiny

:41:52.:41:57.

silver to fasten onto my shoes! Want perfume, want to be

:41:58.:42:02.

purty, want to smell Want things I've heard

:42:03.:42:06.

of and never had before - Want things I can't tell

:42:07.:42:11.

you about, not only to look Things so nice, if they ever did

:42:12.:42:15.

happen to you, your heart It's a secret formula,

:42:16.:42:21.

belonged to pharaoh's daughter! But a special kind

:42:22.:42:28.

of smelling salts. Read what it says on the label,

:42:29.:42:31.

"take a deep breath That's what pharaoh's

:42:32.:42:34.

daughter used to do. When she had a hard problem

:42:35.:42:36.

to decide, like what prince she ought to marry, or what dress

:42:37.:42:39.

to wear to a party, or whether she ought to cut off

:42:40.:42:42.

somebody's head - she'd take I'll take a bottle

:42:43.:42:45.

of that, Mr Peddler. Now don't you want me to show

:42:46.:42:48.

you some purty doodads? You know, with lace around

:42:49.:42:57.

the bottom, and ribbons Well, I never wear that kind myself,

:42:58.:42:59.

but I sure do like to look at them. Yeah, they're all right,

:43:00.:43:14.

if you ain't going no place. Bring your trappings

:43:15.:43:33.

inside and maybe I can find Ali, Laurey and me have

:43:34.:43:35.

been having a argument. About what you meant when you said

:43:36.:43:40.

that about driving with me Well, I didn't mean really

:43:41.:43:45.

to the end of the world. Oh, about as far as - say -

:43:46.:43:53.

Claremore - to the hotel. In front of the hotel

:43:54.:44:00.

is a veranda - inside is a lobby - upstairs -

:44:01.:44:04.

upstairs might be paradise. I knew I was right

:44:05.:44:09.

and Laurey was wrong! I said you do want to

:44:10.:44:20.

marry me, don't you. How's the sweetest little 110 pounds

:44:21.:44:29.

of sugar in the territory? It's a wonderful

:44:30.:44:51.

thing to be married. I got a brother in

:44:52.:45:04.

Persia, got six wives. 'That's a way they do

:45:05.:45:07.

in them countries. I got another brother

:45:08.:45:16.

in Persia only got one wife. Know what i got for first

:45:17.:45:19.

prize at the fair? Well, that was good.

:45:20.:45:30.

50 dollars? Your paw promised I cud marry

:45:31.:45:34.

you if I cud get 50 dollars. But if you spent it,

:45:35.:45:39.

you ain't got the cash. What I got is worth

:45:40.:45:47.

more than the cash. Oh, Ado Annie, honey, you haven't

:45:48.:45:50.

been off my mind since I left. All the time at the fairgrounds

:45:51.:46:06.

even, when I was chasing steers. I'd rope one under the hoofs

:46:07.:46:08.

and pull him up sharp, and he'd land on his little rump

:46:09.:46:11.

then I'd think of you. See a lot of beautiful

:46:12.:46:17.

gals in Kansas City. How'd you see them if you

:46:18.:46:26.

didn't give them a look? I mean I didn't look loving

:46:27.:46:33.

at them like I look at you. Oh, Will, please

:46:34.:46:36.

don't look like that! Won't stop looking like this till

:46:37.:46:37.

I get a little ole kiss. Nothing, 'less than

:46:38.:46:46.

it comes from you. # Supposing 'at I say

:46:47.:46:50.

that your lips're like cherries, # Can't you feel my heart

:46:51.:46:58.

palpitating' and bumping, # I got to get a kiss and it's

:46:59.:47:11.

got to be quick # What's a girl to say

:47:12.:47:18.

when you talk that way? # I got a beautiful

:47:19.:47:34.

feeling Better take the wagon down

:47:35.:47:47.

to the trough and give Just love to watch the way

:47:48.:47:57.

you handle horses. That's about all I can

:47:58.:48:07.

handle, I reckon. Oh, I can't believe that, Curly -

:48:08.:48:10.

not from what I heard about you! Looks like Curly's took up

:48:11.:48:19.

with that Cummins girl. Come on, boys, let's get

:48:20.:48:21.

these hampers out under # Why should a woman who is healthy

:48:22.:48:30.

and strong # Blubber like a baby

:48:31.:48:44.

if her man goes away? # Weeping and wailing

:48:45.:48:49.

how he's done her wrong # That's one thing

:48:50.:48:53.

you'll never hear me say! # Never going to think

:48:54.:48:55.

that the man I lose # I'll snap my fingers

:48:56.:48:59.

to show I don't care # I'll buy me a brand-new

:49:00.:49:09.

dress to wear # I'll scrub my neck

:49:10.:49:13.

and I'll brush my hair # Many a new face

:49:14.:49:18.

will please my eye, # Never have I once looked back

:49:19.:49:28.

to sigh # Many a new day

:49:29.:49:36.

will dawn before I do! # Never have I wandered

:49:37.:49:48.

through the rye # Many a new day will

:49:49.:50:07.

dawn before I do! # Never have I once looked back

:50:08.:50:23.

to sigh # Many a new day will

:50:24.:50:34.

dawn before I do! # Somebody else

:50:35.:50:46.

just as sweet as he # Many a blue moon will

:50:47.:50:57.

shine, before I do! # Never have I once

:50:58.:51:38.

looked back to sigh # Many a new day will

:51:39.:54:33.

dawn before I do! # Somebody else

:54:34.:54:44.

just as sweet as he I'm sure sorry to see you so happy,

:54:45.:54:54.

cos what I got to say will make Ooooh!

:54:55.:55:59.

That's sad news for me. I'd rather have you come right out

:56:00.:56:10.

and say your heart is busted in two. Are you positive you

:56:11.:56:24.

got to marry Will? And there is no chance

:56:25.:56:27.

to change your mind? All right, then, my

:56:28.:56:34.

heart is busted in two. Oh, Ali, you do make up

:56:35.:56:39.

purty things to say! That true what I hear about

:56:40.:56:41.

Will Parker getting 50 dollars? And he wants to hold

:56:42.:56:52.

you to your promise. Still and all, I can't

:56:53.:56:57.

go back on my word. I advise you to get that money

:56:58.:57:02.

off him before he loses it all. Put it in your stocking er

:57:03.:57:09.

inside your corset where he can't Well, shut your face,

:57:10.:57:14.

or I'll fill your behind so full of buckshot,

:57:15.:57:52.

you'll be walking around like a duck Ali, if I don't have to marry Will,

:57:53.:57:56.

maybe your heart don't have to be Oh, yes, you did.

:57:57.:58:07.

No, I did not. Are you trying to make

:58:08.:58:11.

out my daughter to be a liar? No, I'm just making it

:58:12.:58:14.

clear what a liar I am What else you been

:58:15.:58:17.

saying to my daughter? I'm listening.

:58:18.:58:22.

What else did you say? He said I was like a Persian kitten,

:58:23.:58:37.

cos they was the cats In this part of the country, that

:58:38.:58:51.

better be a proposal of marriage. Look, Mr Carnes...

:58:52.:58:59.

I'm looking. I'm no good.

:59:00.:59:08.

I'm a peddler. A peddler travels up and down

:59:09.:59:12.

and all around and you'd never see

:59:13.:59:16.

your daughter no more. You sure for certain you can

:59:17.:59:20.

bear to let me go, paw? Oh, Ali Hakim, ain't it wonderful,

:59:21.:59:43.

paw making up our mind for us? Once he gives his word that you can

:59:44.:00:00.

have me, why, you got me. # 20 minutes ago

:00:01.:00:07.

I am free like a breeze, # Free like a bird

:00:08.:01:00.

in the woodland wild, # Free like a gypsy,

:01:01.:01:04.

free like a child, # 20 minutes ago,

:01:05.:01:09.

I can do what I please, # Dunk with a doughnut,

:01:10.:01:20.

drink from a jug - # I'm minding my own

:01:21.:01:30.

business like I oughta, # I'm talking to a certain

:01:31.:01:40.

farmer's daughter # Then - I'm looking

:01:41.:01:50.

in the muzzle of a gun! # It's getting so you

:01:51.:01:54.

can't have any fun! # Every daughter has

:01:55.:01:56.

a father with a gun! # If you make one mistake

:01:57.:02:04.

when the moon is bright, # Then they tie you to a contract,

:02:05.:02:14.

so you make it every night! # When her family

:02:15.:02:17.

surround you and say, # "You got to take and make

:02:18.:02:28.

an honest woman out of Nell!" # To make you make her honest,

:02:29.:02:32.

she will lie like hell! # Where is the leader

:02:33.:02:34.

who will save us? Me?

:02:35.:02:40.

Yes, you! # Just a wink and a kiss

:02:41.:02:45.

and you're through! # You're a mess, and in less

:02:46.:02:51.

than a year, by heck! # There's a baby on your shoulder

:02:52.:02:55.

making bubbles on your neck! # Any farmer will

:02:56.:02:58.

tell you it's true. # A rooster in a chicken

:02:59.:03:05.

coop is better off'n men # He ain't the special

:03:06.:03:08.

property of just one hen! # All right, boys!

:03:09.:03:12.

Revolve!# Mine would like to float away

:03:13.:03:55.

if you blew on them. I did blow on one of mine and it

:03:56.:04:20.

broke up into a million pieces. And don't forgot when the auction

:04:21.:04:26.

starts tonight, mine's So that's the Cummins girl

:04:27.:04:40.

I heard so much talk of. Never did see anybody

:04:41.:04:53.

get so peeked-looking 'that's just some ole meat

:04:54.:04:59.

pies and apple jelly. Nothing like what Gertie Cummins

:05:00.:05:17.

has in her basket. You really going to drive to the box

:05:18.:05:23.

social with that Jud fella? Nothing it's just that everybody

:05:24.:05:29.

seems to expect' me to take you. Then, maybe it's just

:05:30.:05:36.

as well you ain't. We don't want people

:05:37.:05:38.

talking about us, do we? Oh, you know how they air -

:05:39.:05:41.

like a swarm of mudwasps. Always gotta be buzzing

:05:42.:05:47.

about something. Most of the talk is that

:05:48.:05:49.

you're stuck on me. Can't imagine how these

:05:50.:05:58.

ugly rumours start. # That

:05:59.:05:59.

link my name with yours? # Why do the neighbours gossip

:06:00.:06:07.

all day # I know a way to prove

:06:08.:06:09.

what they say # Here is the gist,

:06:10.:06:16.

a practical list # Don't sigh and gaze

:06:17.:06:23.

at me # Don't start collecting

:06:24.:07:07.

things...# # Sweetheart, they're

:07:08.:07:33.

suspecting things # Some people claim that

:07:34.:07:47.

you are to blame # Why do you take the trouble

:07:48.:08:02.

to bake my favourite pie? # Just keep a slice

:08:03.:08:12.

of all the advice Don't you reckon you could tell Jud

:08:13.:08:23.

you'd rather go with me tonight? Think I'll go down to

:08:24.:10:33.

the smokehouse, where Jud's at. See what's so elegant about him,

:10:34.:10:45.

makes girls want to go # Your eyes mustn't

:10:46.:10:47.

glow like mine...# You got a smudge on your cheek,

:10:48.:11:23.

just under your eye. I done got through my

:11:24.:12:12.

business up at the house. That there pink picture -

:12:13.:12:40.

now that's a naked women, ain't it? Got a couple of thingamabobs

:12:41.:12:58.

tied onto her. That ain't a thing

:12:59.:13:08.

to what I got here. That would give me

:13:09.:13:12.

ideas, that would. That's a good-looking

:13:13.:13:21.

rope you got there. You could hang

:13:22.:13:35.

yourself on that, Jud. It would be as easy

:13:36.:13:48.

as falling off a log! Fact is, you could stand

:13:49.:13:55.

on a log or a cheer if you'd Tie that good up there

:13:56.:13:58.

first, of course. Then all you'd have to do would be

:13:59.:14:07.

to fall off the log or the cheer, In five minutes, or less,

:14:08.:14:11.

with good luck, you'd Then folks would come

:14:12.:14:14.

to your funeral and sing sad songs. You never know how many people

:14:15.:14:24.

like you till your dead. You'd probably be laid

:14:25.:14:32.

out in the parlour. You'd be all decked out in your best

:14:33.:14:35.

suit with your hair combed down Would they be any

:14:36.:14:38.

flowers, do you think? Sure would, and palms, too -

:14:39.:14:50.

all around your coffin. Then folks would stand

:14:51.:14:56.

around you and the men would bare their heads and the women

:14:57.:15:00.

would sniffle softly. Some would probably faint -

:15:01.:15:04.

ones that tuck a shine Only they don't never come right out

:15:05.:15:06.

and show you how they feel - They'd sure sing loud though

:15:07.:15:18.

when the singing started, # All gather round his

:15:19.:15:25.

coffin now and cry # Oh,

:15:26.:15:47.

why did such a fella have to die? # He's looking oh-so

:15:48.:16:05.

peaceful and serene # His fingernails have

:16:06.:16:18.

never been so clean #. Then the preacher would get up

:16:19.:16:40.

and he'd say, "Folks, we are gathered here to moan

:16:41.:16:45.

and groan over our brother Jud Fry who hung himself up by a rope

:16:46.:16:48.

in the smokehouse." Then there'd be a-weeping and

:16:49.:16:55.

a-wailing from some of those women. Then he'd say, "Jud Fry was the most

:16:56.:16:59.

misunderstood man in the territory. They called him a dirty skunk

:17:00.:17:07.

and a ornery pig-stealer. # But the folks that really

:17:08.:17:09.

know'd him, # Know'd that beneath them two dirty

:17:10.:17:12.

shirts he always wore, # There beat a heart

:17:13.:17:15.

as big as all outdoors He loved the birds of the forest

:17:16.:17:18.

and the beasts of the field. He loved the mice and the vermin

:17:19.:17:38.

in the barn, and he treated the rats He loved everybody and

:17:39.:17:43.

everything in the world! Only he never let on,

:17:44.:17:54.

so nobody ever knew it! # His friends will weep

:17:55.:17:59.

and wail for miles around # Because poor Jud is

:18:00.:18:13.

underneath the ground # He's laying in

:18:14.:18:34.

a coffin made of wood # And now they know

:18:35.:18:50.

their friend has gone for good # He's looking oh-so

:18:51.:19:02.

purty and so nice # But it's summer

:19:03.:19:21.

and we're running out of ice Maybe - let's see now, where did

:19:22.:19:39.

you work at before you come here? Who said anything

:19:40.:20:38.

about getting even? If it ever come to getting even

:20:39.:20:53.

with anybody, I'd know how to do it. There's safer ways then that,

:20:54.:21:00.

if you use your brains. Remember that fire on the Bartlett

:21:01.:21:09.

farm over by Sweetwater? Sure do.

:21:10.:21:13.

About five years ago. Burned up the father,

:21:14.:21:15.

and mother and daughter. A fella told me the hired hand

:21:16.:21:19.

was stuck on the Bartlett girl, and he found her in the hayloft

:21:20.:21:26.

with another fella. And it was him that

:21:27.:21:29.

burned the place? It took him weeks to get

:21:30.:21:34.

all the kerosene, buying Fella who told me made out it

:21:35.:21:37.

happened in Missouri, You ain't told me yet

:21:38.:21:44.

what business you had here. We got no cattle to sell

:21:45.:22:03.

nor no cow ponies. You sure relieved my

:22:04.:22:05.

mind considerable. There's only one other thing on this

:22:06.:22:10.

farm you could want - and

:22:11.:22:13.

it better not be that! But that's just what it is.

:22:14.:22:14.

Better not be! Somebody ought to tell Laurey

:22:15.:22:16.

what kind of a man you are. And for that matter,

:22:17.:22:22.

somebody ought to tell A fella wouldn't feel very

:22:23.:22:24.

safe in here with you if In this country, there're two things

:22:25.:22:30.

you can do if you're a man. As long you live in

:22:31.:22:43.

a hole, you're scared, You can have muscles, oh,

:22:44.:22:55.

like iron and still be as weak How'd you get to be the way you air,

:22:56.:23:00.

anyway, sitting here in this filthy hole and thinking

:23:01.:23:05.

the way you're thinking? Why don't you do something

:23:06.:23:07.

healthy once in a while, instead of staying shut up

:23:08.:23:10.

in here a-crawling and a-festering! I wish you'd let me

:23:11.:23:13.

show you something. There's a knot-hole over

:23:14.:23:29.

there about as big as a dime. Bullet right through

:23:30.:23:32.

the knot-hole, slick Who fired off a gun?

:23:33.:23:57.

Was that you, Curly? Don't set there, you lummy.

:23:58.:24:12.

Answer when you're spoke to. Well, ain't you a pair of purty

:24:13.:24:14.

nothings, picking away at knot holes Ought to give you a good

:24:15.:24:34.

Dutch rub and iron some Just a pair of fools

:24:35.:24:41.

swapping noises. It's good to get away

:24:42.:24:57.

from the women for a while. I got a few purties, private

:24:58.:25:02.

knick-knacks for to show you, I gotta get a surrey

:25:03.:25:16.

I hired for tonight. Who you think you're

:25:17.:25:21.

taking in that surrey? Aunt Eller - and Laurey,

:25:22.:25:25.

if she'll come with me. She promised to go with me,

:25:26.:25:27.

and she better not change her mind. Now, I want you to look at these

:25:28.:25:32.

straight from Paris. I don't want none o'

:25:33.:25:42.

those things now. I tell you what I'd

:25:43.:25:54.

like better if you got one. Ever hear of one of them things

:25:55.:25:56.

you call "the little wonder"? It's a thing you hold

:25:57.:25:59.

up to your eyes to see pitchers, only that ain't

:26:00.:26:02.

all they is to it, not quite. You see it's got a little jigger

:26:03.:26:04.

onto it, and you touch it and out You say to a fella,

:26:05.:26:08.

"Look through this." Then when he's looking,

:26:09.:26:12.

you snap out the blade. It's just above his chest and, bang!

:26:13.:26:14.

Down you come. What I'd like to show

:26:15.:26:20.

you is my new stock of postcards. Say, do you happen to know

:26:21.:26:35.

a girl named Ado Annie? I don't want her either.

:26:36.:26:57.

But I got her! What am I doing shut up here,

:26:58.:27:00.

like that fella says, What am I doing in this

:27:01.:27:13.

lousy smokehouse? # There's a field mouse

:27:14.:27:23.

nibbling on a broom # But when there's

:27:24.:27:41.

a moon in my window # And it slants down

:27:42.:28:04.

a beam 'cross my bed, # And the shadow of a tree starts

:28:05.:28:10.

a-dancing on the wall # And a dream starts

:28:11.:28:13.

a-dancing in my head # And all the things

:28:14.:28:17.

that I wish for # And I'm better'n that

:28:18.:28:20.

smart-aleck cowhand # And the girl that I want

:28:21.:28:29.

ain't afraid of my arms, # And the mouse starts

:28:30.:28:39.

nibbling on the broom # I ain't going to dream

:28:40.:29:19.

about her arms no more And in your future I see

:29:20.:29:43.

a dark, handsome man. Girls, could you -

:29:44.:30:27.

could you go somewhere She bought that ole smelling salts

:30:28.:30:29.

the peddler tried to sell us! It's going to make

:30:30.:30:39.

up my mind for me. Hey, Laurey, is it true

:30:40.:30:43.

you're letting Jud take Tell you better when I think

:30:44.:30:52.

everything out clear. Beginning to see

:30:53.:30:57.

things clear already. # Out of your dreams and into his

:30:58.:30:59.

arms # You don't need Egyptian smelling'

:31:00.:31:07.

salts # Out of your dreams and into

:31:08.:31:18.

the hush # Make up your own

:31:19.:31:27.

story, # Daughter

:31:28.:32:09.

won't tell you # Out of my dreams

:32:10.:32:17.

and into your arms The dramatic end of the first half

:32:18.:47:56.

of Rodgers and Hammerstein's Oklahoma! This newly edited and

:47:57.:48:01.

reconstructed score of the original Broadway production, all that hard

:48:02.:48:07.

work done by that man, John Wilson, the conductor of the John Wilson

:48:08.:48:11.

Orchestra, recreating that wonderful, lush sound that we have

:48:12.:48:21.

come to know and love so well. It is all going on, isn't it.

:48:22.:48:22.

Oh, my, come on, Curly and Laurey, sort it out!

:48:23.:48:24.

Frustrating as the story is at this point ? I mean,

:48:25.:48:30.

we all just want Curly and Laurey to get together -

:48:31.:48:33.

we can't moan because we're being treated to wonderful music,

:48:34.:48:37.

John Wilson has worked incredibly hard with the orchestra and the

:48:38.:48:41.

thing is to recreate that original Broadway sound. And wonderful dance

:48:42.:48:44.

as well. The dream sequence we've just seen

:48:45.:48:45.

is just one example of the way that the choreography works

:48:46.:48:48.

hand-in-glove with And as a huge fan of dancing,

:48:49.:48:50.

I couldn't resist the opportunity to go behind the scenes

:48:51.:48:54.

of the rehearsals to find out more. When you don't have the words to

:48:55.:49:08.

say, using, and when you don't have a song to sing, you dance. -- you

:49:09.:49:14.

seeing. It is the first musical in the history of musical theatre where

:49:15.:49:16.

dance was used to tell the story. There's a lot of dance music and it

:49:17.:49:30.

has to be filled! I think that is the biggest challenge. Words can't

:49:31.:49:37.

even come close to telling you what a treat it is to be in something

:49:38.:49:45.

like this. " In just three weeks, they are putting on this mammoth

:49:46.:49:48.

show which is packed with complicated dancing and movement of

:49:49.:49:51.

all sorts. The original choreography was done by Agnes DeMille and was

:49:52.:49:54.

considered revolutionary at the time because she used classical ballet

:49:55.:49:58.

steps in a musical to tell a story and push the characters forward.

:49:59.:50:05.

Five, six, seven... The whole point of doing Oklahoma at the Proms is to

:50:06.:50:08.

play every note of the original score by Richard Rodgers and the

:50:09.:50:14.

original orchestration. The choreographer has had to take on

:50:15.:50:19.

board these enormous dance routines, a 17 minute ballet at the end of act

:50:20.:50:27.

one. He's got an enormous workload. I've tried to keep the choreographic

:50:28.:50:32.

language quite formal and classical. But you know, put my little spin on

:50:33.:50:34.

it. I'm loving working with Alistair,

:50:35.:50:49.

there are certain dance moves I've never felt confident enough to dry

:50:50.:50:52.

but for some reason I'm doing them here and it is exciting and fun. You

:50:53.:50:59.

really use your body to communicate, that is when dancing is exciting,

:51:00.:51:02.

that is when dancing means something. It is not just arbitrary

:51:03.:51:08.

movement. This is just great, watching them work it all out. They

:51:09.:51:12.

will make it look so easy on the night but it's really hard! A

:51:13.:51:19.

struggle. So the fight choreographer is giving them the sort of brutality

:51:20.:51:23.

of a real fight, the real moves for a fight but they then have to turn

:51:24.:51:26.

it into something more stylised because it is still part of the

:51:27.:51:31.

ballet. Fighting on stage is always hard, to make it feel real. Because

:51:32.:51:37.

we are going to be playing the entirety of the score, we can't go,

:51:38.:51:41.

"This bike is going on a bit too long, can we make it shorter?" It

:51:42.:51:46.

has to be the length it is. -- this fight is going on a bit too long.

:51:47.:51:54.

Can we go from here? Certain ideas the choreographer has had to work

:51:55.:51:58.

with the music and the music has to work in a certain way so there's

:51:59.:52:01.

lots of give and take in a proper collaboration.

:52:02.:52:09.

Seeing them dance and then being invited, "Markets, you're dancing at

:52:10.:52:18.

this bit", you're going, "Am I? Good, wonderful, where? The Albert

:52:19.:52:24.

Hall?" You know, you are very conscious, aren't you, if you come

:52:25.:52:29.

in, in my position, that you don't want to show anyone up. So my brain

:52:30.:52:33.

has been in rehearsals to make it look off like I don't really know

:52:34.:52:39.

I'm doing. I just... More fair on the younger cast members, isn't it?

:52:40.:52:48.

I don't know, I've reached that age, I keep welling up... They are so

:52:49.:52:56.

beautiful! I hope the audience feels like that when they see it.

:52:57.:53:02.

It's time to enjoy some more of that choreography now,

:53:03.:53:06.

as we go back to the second half of Oklahoma!

:53:07.:53:08.

Will Laurey really go to the dance with Jud?

:53:09.:53:11.

And just how is Curly planning to win Laurey's

:53:12.:53:13.

And with so many unknowns, it's all getting a bit unsettled

:53:14.:53:20.

The atmosphere tonight so far has been absolutely buzzing for this

:53:21.:53:32.

Oklahoma prom at the Royal Albert Hall. You can see it is completely

:53:33.:53:38.

packed, sold out months ago apart from the prommers who queued up for

:53:39.:53:42.

hours today. Oklahoma has always been such a favourite and apparently

:53:43.:53:48.

it ran for over 2200 performances on its initial Broadway run which was a

:53:49.:53:50.

record at the time. Here is John Wilson, to conduct

:53:51.:53:52.

the John Wilson Orchestra, with leader Michael Trainor,

:53:53.:53:54.

in Part 2 of Oklahoma! # Oh, the farmer and

:53:55.:56:37.

the cowman should be friends # But that's no reason why

:56:38.:57:30.

they can't be friends # Territory folks

:57:31.:57:38.

should stick together # Cowboys, dance with

:57:39.:57:39.

the farmers' daughters! # Farmers, dance with

:57:40.:57:43.

the ranchers' gals! # Territory folks

:57:44.:57:47.

should stick together # Cowboys, dance with

:57:48.:57:49.

the farmers' daughters! # Farmers, dance with

:57:50.:57:52.

the ranchers' gals! # I'd like to say

:57:53.:57:57.

a word for the farmer # He come out west and

:57:58.:58:00.

made a lot of changes # He come out west and

:58:01.:58:06.

built a lot of fences! # And built them right

:58:07.:58:09.

across our cattle ranges! Why haven't those dirt scratchers

:58:10.:58:14.

stay in Missouri where they belong? # The farmer is a good

:58:15.:58:18.

and thrifty citizen. # No matter what the

:58:19.:58:22.

cowman says or thinks. # You seldom see him

:58:23.:58:27.

drinking in a bar room # Unless somebody

:58:28.:58:30.

else is buying drinks # The cowman ropes a cow with ease,

:58:31.:58:35.

the cowman should be friends # The farmer steals her

:58:36.:58:51.

butter a nd cheese, # But that's no reason why

:58:52.:58:56.

they can't be friends! # Territory folks

:58:57.:58:59.

should stick together. # Territory folks

:59:00.:59:00.

should all be pals. # I'd like to say

:59:01.:59:02.

a word for the cowboy. # The road he treads

:59:03.:59:05.

is difficult and stony. # He rides for days on end

:59:06.:59:09.

with just a pony for a friend # I sure am feeling

:59:10.:59:13.

sorry for the pony! # The farmer should be

:59:14.:59:18.

sociable with the cowboy # If he rides by and asks

:59:19.:59:20.

for food and water # Don't treat him like a louse,

:59:21.:59:24.

make him welcome in your house # But be sure that you lock

:59:25.:59:29.

up your wife and daughter! Notice you married one,

:59:30.:59:33.

so you could get a square meal! You can't talk that-a-way

:59:34.:59:39.

about our women folks! # Oh, the farmer and

:59:40.:59:41.

the cowman should be friends # The farmer and the cowman

:59:42.:59:51.

should be friends Ain't nobody going

:59:52.:00:01.

to slug out anything. # Oh, the farmer and

:00:02.:00:04.

the cowman should be friends # One man likes to push a plough,

:00:05.:00:19.

the other likes to chase a cow, # But that's no reason why

:00:20.:00:23.

they can't be friends! # And when this

:00:24.:00:29.

territory is a state. # And joins the union just

:00:30.:00:31.

like all the others, # The farmer and the cowman

:00:32.:00:33.

and the merchant. # Must all behave theirsel's

:00:34.:00:37.

and act like brothers. # I'd like to teach

:00:38.:00:42.

you all a little saying' - # And learn the words

:00:43.:00:47.

by heart the way you should, # "I don't say I'm no

:00:48.:00:53.

better than anybody else. # But I'll

:00:54.:01:01.

be damned if i ain't just as good!" # I don't say I'm no

:01:02.:01:07.

better than anybody else. # But I'll be

:01:08.:01:10.

damned if I ain't just as good! # Territory folks

:01:11.:01:12.

should stick together. # Territory

:01:13.:01:14.

folks should all be pals. # Cowboys, dance with

:01:15.:01:15.

the farmers' daughters! # Farmers, dance with

:01:16.:01:17.

the ranchers' gals! # Territory folks

:01:18.:03:26.

should stick together. # Territory

:03:27.:03:28.

folks should all be pals. # Cowboys, dance with

:03:29.:03:29.

the farmers' daughter! # Farmers, dance with

:03:30.:03:31.

the ranchers' gals! I'm so hungry I could

:03:32.:03:42.

eat a gatepost. Let one of the men

:03:43.:03:55.

be the auctioneer. "Ain't any ole men

:03:56.:04:05.

auctioneers as good as you." You aren't supposed to know

:04:06.:04:11.

what girl goes with what hamper. Now we'll auction all the hampers

:04:12.:04:23.

on the other side of the house I was just hoping

:04:24.:04:26.

to meet up with you. It seems like you and me ought

:04:27.:04:35.

to have a little talk. Well, Mr Hakim, I hear you got

:04:36.:04:39.

yourself engaged to Ado Annie. You're too little to be man,

:04:40.:04:46.

and too big to be a mouse. Cos if I thought you didn't I'd

:04:47.:05:01.

tie you up in this bag And do you worship the ground

:05:02.:05:16.

she walks on, like I do? And this is one answer

:05:17.:05:24.

that better be yes. Would you spend every

:05:25.:05:26.

cent you had for her? If you had that 50 dollars cash I'd

:05:27.:05:34.

have Ado Annie, and you'd lose her. I said I'd give

:05:35.:05:46.

you eight and I will. Them - those - that

:05:47.:06:21.

was for her to wear. I didn't hardly think

:06:22.:06:45.

they was for you. Let's see, eight and 22 makes

:06:46.:06:47.

30 and 15 is 45 and 50 On the other side

:06:48.:06:52.

of the house, Laurey. How much will you give

:06:53.:07:26.

me for this thing? Just went to half' other

:07:27.:07:30.

side of the house. Here's one of them things

:07:31.:07:36.

you was looking for. A lot of money but I got an idea

:07:37.:07:40.

it might be worth it. Let's see, ?3.50 from him

:07:41.:07:54.

and ?45.50 from you. How much for all the rest

:07:55.:07:59.

of the stuff in this bag? Means I'm going to take

:08:00.:08:12.

Ado Annie back from you! You wouldn't do a thing

:08:13.:08:25.

like that to me! And when I tell her paw who I got

:08:26.:08:27.

most of the money off, maybe he'll change his mind

:08:28.:08:34.

about who's smart and who's dumb! Say, young fella, you

:08:35.:08:36.

certainly bunkoed me! Now what am I bid for

:08:37.:08:41.

Ado Annie's hamper? Six bits ain't enough for a lunch

:08:42.:09:04.

like Ado Annie can make. Hey, Ado Annie, you got that same

:09:05.:09:26.

sweet potato pie like last year? I say it give me

:09:27.:09:38.

a three-day bellyache! Nobody ever bid 50

:09:39.:09:45.

dollars for a lunch! And 'f you're a man of honour

:09:46.:10:12.

you got to say Ado Annie belongs Got to say the peddler

:10:13.:10:22.

still gets my daughter's hand. 'f I don't bid any more I can

:10:23.:10:40.

keep my money, can't i? Going, going, gone for 51

:10:41.:11:04.

dollars and that means Ado Annie will get the prize,

:11:05.:11:11.

I guess. And what're you getting

:11:12.:11:18.

for your 51 dollars? I took a peek inside

:11:19.:11:26.

a while ago and I must say I got a bid of four

:11:27.:11:39.

and a quarter - from Jud Fry. I ain't said "going,

:11:40.:12:27.

going, gone" yet! Going to Jud Fry for six

:12:28.:13:22.

dollars and two bits! I don't figure 'that's

:13:23.:13:28.

quite enough, do you? Got a saddle here

:13:29.:13:36.

cost me 30 dollars. 30 dollar saddle must be worth

:13:37.:13:39.

something to somebody. You can't earn a living

:13:40.:13:44.

'without a saddle. Aunt Eller, I'm bidding all of this

:13:45.:13:50.

ten dollars Joe just give me. She's a - - a kind of nice horse -

:13:51.:14:05.

gentle and well broke. Don't sell dun, Curly,

:14:06.:14:25.

it ain't worth it. But it's all for the

:14:26.:14:27.

schoolhouse, ain't it? You just put up everything you got

:14:28.:14:43.

in the world, didn't your? Can't bid your clothes,

:14:44.:14:58.

cos they ain't worth nothing. Can't bid your gun

:14:59.:15:00.

cos you need that. So, Aunt Eller, I'm just as reckless

:15:01.:15:02.

as Curly McLain, I guess. Going to bid all I got in the world

:15:03.:15:13.

- all I saved for two Bought it brand-new

:15:14.:15:19.

last Thanksgiving. Well, that makes my bid 53

:15:20.:15:34.

dollars, Aunt Eller. Ain't nobody going

:15:35.:15:50.

to cheer or nothing? You lost the bid, but

:15:51.:16:13.

the bidding was fair. C'mon, cowman - shake

:16:14.:16:15.

the farmer's hand! Say, Curly, I want to

:16:16.:16:17.

show you something. Just what is that?

:16:18.:16:22.

Something special. You just put this up

:16:23.:16:36.

to your eye like this, see? Doing?

:16:37.:16:40.

Nothing much. What you want to squeal

:16:41.:16:48.

at a man like that for? Scare the liver and

:16:49.:16:50.

lights out of a fella. Well, then, stop looking

:16:51.:16:54.

at those ole French pitchers You brung me to the

:16:55.:16:56.

party, didn't you? All right, you silly ole woman,

:16:57.:17:06.

I'll dance with half you. Dance you all over

:17:07.:17:08.

the meadow, you want! Well, Ado Annie, I got

:17:09.:17:12.

the 50 dollars cash, Now look here, we gotta

:17:13.:17:27.

have a serious talk. Now that you're engaged to me,

:17:28.:17:47.

you gotta stop having fun! # You'll have to be

:17:48.:17:52.

a little more stand-offish. # When fellas offer

:17:53.:17:58.

you a buggy ride. # I'll give an imitation

:17:59.:18:04.

of a crawfish. # And dig myself a hole

:18:05.:18:08.

where I can hide. # I heard how you was

:18:09.:18:11.

kicking up some capers # I heard some things

:18:12.:18:18.

you couldn't print in papers # From fellas who been

:18:19.:18:24.

talking like they know! # I only did the kind

:18:25.:18:26.

of things I oughta, sorta # To you I was as faithful

:18:27.:18:37.

as can be for me. # Them stories 'bout

:18:38.:18:40.

the way I lost my bloomers. # The whole thing don't

:18:41.:18:42.

sound very good to me. # I save my money, don't gamble

:18:43.:18:48.

or drink in the back room # I give up lots of other things

:18:49.:18:56.

a gentleman never mentions # But before I give up any more,

:18:57.:19:00.

I want to know your intentions # It can't be "in between",

:19:01.:19:08.

it can't be "now and then" # I'm a one-woman man,

:19:09.:19:23.

home-loving type # All complete with

:19:24.:19:32.

slippers and pipe # If you can't give me

:19:33.:19:36.

all, give me nothing # And nothing's what

:19:37.:19:46.

you'll get from me # It can't be "in between"?

:19:47.:19:55.

Uh-uh. # Would you build me

:19:56.:20:13.

a house, all painted white? # Cute and clean

:20:14.:20:23.

and purty and bright? # Big enough for two

:20:24.:20:29.

but not for three # Supposin' at we should

:20:30.:20:33.

have a third one? # But if a wife is wise,

:20:34.:20:36.

she's gotta realise # That men like you

:20:37.:22:28.

are wild and free # So I ain't gonna fuss,

:22:29.:22:32.

ain't gonna frown # Stay up late and don't

:22:33.:22:34.

come home till three # And go right off to

:22:35.:22:44.

sleep if you're sleepy What made you slap that

:22:45.:22:49.

whip onto Old Lady, You didn't want to be

:22:50.:23:38.

with me by yourself, Why, I don't know what

:23:39.:23:44.

you're talking about! You wouldn't have been,

:23:45.:23:48.

if you coulda got out of it. Mornings you stay hid

:23:49.:23:53.

in your room all the time. Nights you sit in the front room,

:23:54.:23:57.

and won't get out of Aunt Eller's Last time I see ya alone

:23:58.:24:00.

it was winter, with the snow six inches deep

:24:01.:24:04.

in drifts when I was sick. You brought me that hot

:24:05.:24:07.

soup out to the smoke house and give it to me,

:24:08.:24:09.

and me in bed. You ask me if I had any

:24:10.:24:12.

fever and you put your Bet you don't remember

:24:13.:24:19.

as much as me. I remember everything ya ever done,

:24:20.:24:30.

every word ya ever said. I'm a hired hand, got dirt

:24:31.:24:33.

on my hands, pig slop. Yeah, we'll see who's

:24:34.:24:43.

better - Miss Laurey. Then you'll wish you wasn't

:24:44.:24:53.

so free with your airs, Are you standing there trying

:24:54.:24:55.

to tell me if I don't 'low you to slobber over me like a hog,

:24:56.:25:05.

why, you're going to do Why, you're nothing but a mangy dog

:25:06.:25:08.

and somebody oughta shoot you. You think so much about

:25:09.:25:13.

being a hired hand. Well, I'll just tell you something

:25:14.:25:15.

that'll rest your brain, Mr Jud. You ain't a hired

:25:16.:25:18.

hand for me no more. You can just pack up

:25:19.:25:20.

your duds and scoot. Oh, and I even got

:25:21.:25:22.

better ideas than that. You ain't to come on the place

:25:23.:25:24.

again, you hear me? I'll send your stuff

:25:25.:25:28.

any place you say, but don't you as much

:25:29.:25:34.

set foot inside the pasture gate or I'll set the dogs onto you!

:25:35.:25:37.

Can't help it. Can't never rest.

:25:38.:25:44.

Go and find Curly and tell him I'm here.

:25:45.:26:10.

I want to see Curly awful bad. Got to see him.

:26:11.:26:13.

Then why don't you turn around and look, you crazy women?

:26:14.:26:15.

Now, what on earth is ailing the Belle of Claremore?

:26:16.:26:27.

Don't mind me crying,I can't help it.

:26:28.:26:38.

Here. I'll show you.

:26:39.:26:46.

Get away from me, I tell you, plumb away from me!

:26:47.:27:03.

Laurey, now looky here, you stand over there

:27:04.:27:10.

right where you are, and I'll sit over here...

:27:11.:27:14.

And you tell me what you wanted with me.

:27:15.:27:18.

They ain't no telling what he'll do now!

:27:19.:27:30.

Tomorrow, I'll get you a new hired hand.

:27:31.:27:40.

I'll stay on the place myself tonight, if you're nervous

:27:41.:27:42.

Now quit your worrying about it, or I'll spank you.

:27:43.:27:49.

Gracious, what'd I want to marry you for?

:27:50.:27:59.

Well, couldn't you maybe think of some reason why you might?

:28:00.:28:03.

I can't think of nothing right now, hardly.

:28:04.:28:07.

Don't know what I'm going to do if you...

:28:08.:28:20.

Curly I'll marry you if you want me to.

:28:21.:28:27.

I'll be the happiest man alive soon as we're married.

:28:28.:28:30.

Oh, I got to learn to be a farmer, I see that!

:28:31.:28:35.

Quit thinking about throwing a rope, and get my hands

:28:36.:28:37.

Oh, things is changing right and left!

:28:38.:28:41.

Buy up mowing machines, cut down the prairies!

:28:42.:28:44.

Shoe your horses, drag them ploughs under the sod!

:28:45.:28:49.

They're going to make a state out of this territory.

:28:50.:28:52.

Country's a-changing, got to change with it!

:28:53.:29:07.

Bring up a pair of boys, new stock, to keep up with the way things

:29:08.:29:11.

Oh, I remember the first time I ever seen you.

:29:12.:29:18.

You was riding that grey filly Of Blue Stars,

:29:19.:29:26.

and I says to someone - "Who's that skinny

:29:27.:29:28.

little thing with a bang hanging down on her forehead?"

:29:29.:29:30.

That's right. And one of them threw you.

:29:31.:29:35.

Did not throw me! Guess you jumped off, then.

:29:36.:29:40.

Sure I jumped off. Yeah, you sure did.

:29:41.:29:46.

If there's anybody out around this yard that can hear my voice,

:29:47.:29:51.

I'd like for you to know that Laurey Williams is my girl.

:29:52.:29:54.

And she went and got me to ask her to marry me!

:29:55.:30:01.

They'll hear you all the way to Catoosie!

:30:02.:30:03.

Time for the lonely gypsy to go back to the open road.

:30:04.:31:53.

Wish I was going, then you wouldn't be so lonely.

:31:54.:31:57.

Look, Ado Annie, there is a man I know who loves

:31:58.:32:00.

A man who will stick to you all your life.

:32:01.:32:08.

And that's the man for you - Will Parker.

:32:09.:32:10.

He is a fine fellow. Strong like an ox.

:32:11.:32:17.

And you love those clear blue eyes of his, and the way his mouth

:32:18.:32:29.

I love him because he will make my Ado Annie happy.

:32:30.:32:41.

I will show you how we say goodbye in Persia.

:32:42.:33:03.

I'll show you how we say goodbye in my country.

:33:04.:34:02.

I wish it was me she was marrying instead of you.

:34:03.:34:11.

It don't seem to make an awful lot of difference.

:34:12.:34:16.

Well, back on the open road, the lonely gypsy.

:34:17.:34:26.

You ain't going to think of that ole peddler any more, air you?

:34:27.:34:29.

Never think of no-one less than when he's with me.

:34:30.:34:33.

Then I'm never going to leave your side.

:34:34.:34:37.

Even if you don't, even if you never go away on a trip or nothing,

:34:38.:34:40.

can't you once in a while give me one of them Persian goodbyes?

:34:41.:34:49.

Why that ain't nothing like a Oklahoma hello!

:34:50.:35:10.

Let's have three cheers for the happy couple.

:35:11.:35:39.

Hip, hip... Hooray!

:35:40.:35:45.

Say Curly, was you scared when the preacher said that about do

:35:46.:35:48.

# They couldn't pick a better time to start in life!

:35:49.:36:02.

# It ain't too early and it ain't too late.

:36:03.:36:05.

# Starting as a farmer with a brand-new wife...

:36:06.:36:09.

# Soon be living in a brand-new state!

:36:10.:36:13.

# Brand-new state going to treat you great!

:36:14.:36:20.

# Going to give you barley, carrots and potatoes.

:36:21.:36:22.

# Flowers on the prairie where the June bugs zoom.

:36:23.:36:29.

# Plenty of heart and plenty of hope.

:36:30.:36:44.

# Oklahoma, where the wind comes sweeping down the plain

:36:45.:36:51.

# And the waving wheat can sure smell sweet.

:36:52.:36:54.

# When the wind comes right behind the rain

:36:55.:36:58.

# Every night my honey lamb and I

:36:59.:37:05.

# Sit alone and talk and watch a hawk

:37:06.:37:08.

# We know we belong to the land, and the land we belong to is grand!

:37:09.:37:18.

# Yeow! A-yip-i-o-ee-ay!

:37:19.:37:25.

# We're only saying, "You're doing' fine, Oklahoma!

:37:26.:37:28.

# Oklahoma, where the wind comes sweeping down the plain,

:37:29.:37:42.

# And the waving wheat can sure smell sweet

:37:43.:37:46.

# When the wind comes right behind the rain

:37:47.:37:50.

# Oklahoma, every night my honey lamb and I

:37:51.:37:57.

# Sit alone and talk and watch a hawk

:37:58.:38:00.

# We know we belong to the land, and the land we belong to is grand!

:38:01.:38:11.

# Yippy yi! # Yippy yi!

:38:12.:38:16.

# And when we say "yeow"!

:38:17.:38:18.

# We're only saying "You're doing' fine, Oklahoma!

:38:19.:38:26.

# We know we belong to the land,

:38:27.:38:42.

# And the land we belong to is grand!

:38:43.:38:45.

# We're only saying, "You're doing fine, Oklahoma!

:38:46.:38:54.

# Oklahoma, where the wind comes sweeping down the plain,

:38:55.:39:23.

# And the waving wheat can sure smell sweet

:39:24.:39:25.

# When the wind comes right behind the rain

:39:26.:39:30.

# Oklahoma, every night my honey lamb and I

:39:31.:39:34.

# Sit alone and talk and watch a hawk

:39:35.:39:37.

# We know we belong to the land

:39:38.:39:54.

# We're only saying, "You're doing fine, Oklahoma!

:39:55.:40:07.

You better hurry into that other dress!

:40:08.:41:15.

Would you hitch the team to the surrey for me?

:41:16.:41:23.

Aw, it's a good old-fashioned custom.

:41:24.:41:36.

Four days with that laugh should count like a golden wedding.

:41:37.:42:31.

But if you married her, you must have wanted to.

:42:32.:42:34.

I wanted to marry her when I saw the moonlight shining on the barrel

:42:35.:42:39.

I thought it would be better to be alive.

:42:40.:42:46.

Ali ain't going to travel around the country no more.

:42:47.:42:52.

I decided he ought to settle down in Bushyhead and run Papa's store.

:42:53.:43:02.

Mightily glad to hear that, peddler man.

:43:03.:43:09.

Hey, Gertie, have you ever had an Oklahoma hello?

:43:10.:43:40.

I'm going to stop Ado Annie from killing your wife.

:43:41.:43:45.

It can't be that-a-way. I didn't go to.

:43:46.:46:28.

Can't be like that - to happen to us.

:46:29.:46:30.

Try to get him to a doctor, but I don't know.

:46:31.:46:35.

Here, some of you, carry him over to my rig.

:46:36.:46:38.

I got to go see if there's anything can be done for him.

:46:39.:46:53.

I don't see why this had to happen, when everything was so fine.

:46:54.:46:59.

I can't forgot, I tell you. Never will!

:47:00.:47:06.

If you can't forgot, just don't try to, honey.

:47:07.:47:13.

Sickness, or being poor and hungry even, being old and afraid to die.

:47:14.:47:23.

That's the way it is - cradle to grave.

:47:24.:47:27.

You can't deserve the sweet and tender in life less

:47:28.:47:40.

Fiddlesticks! Scrawny and old?

:47:41.:47:48.

You couldn't hire me to be the way I am!

:47:49.:47:52.

Oh, what would I do without you, you're such a crazy!

:47:53.:47:54.

They're taking Jud over to Dave Tyler's till the morning.

:47:55.:48:01.

Laurey honey, Cord Elam here, he's a federal marshal, y'know.

:48:02.:48:10.

And he thinks I ought to give myself up -

:48:11.:48:12.

Why, your train leaves Claremore in 20 minutes.

:48:13.:48:18.

Best thing is for Curly to go of his own accord and tell the judge.

:48:19.:48:22.

Why, you're the judge, ain't you, Andrew?

:48:23.:48:25.

Well, tell him now and get it over with.

:48:26.:48:29.

Let's do it here and say we did it in court.

:48:30.:48:37.

We can't do that. That's breaking the law.

:48:38.:48:39.

C'mon, Andrew, and start the trial. We ain't got but a few minutes.

:48:40.:48:46.

We can give the boy a fair trial without locking him up

:48:47.:48:53.

First I got to ask you, what's your plea?

:48:54.:49:05.

He'd been pestering Laurey and I always said some day I'd...

:49:06.:49:13.

Just a minute! Just a minute!

:49:14.:49:18.

Don't let your tongue wobble around in your mouth like that.

:49:19.:49:21.

What happened tonight that made you kill him?

:49:22.:49:30.

Why he come at me with a knife and - and...

:49:31.:49:33.

And you had to defend yourself, didn't you?

:49:34.:49:35.

Never mind the furthermore, the plea is self-defence.

:49:36.:49:42.

Now, is there a witness who saw this happen?

:49:43.:49:47.

You'll feel funny when I tell your wife you're carrying

:49:48.:50:01.

Maybe not, but you'll sure feel funny when I tell your wife you are.

:50:02.:50:11.

Laugh all you like, but as a federal marshal...

:50:12.:50:13.

We ain't going to let ya send the boy to jail

:50:14.:50:17.

Let's pull them to their train in Curly's surrey!

:50:18.:50:28.

Well - the verdict's not guilty, ain't it?

:50:29.:50:36.

Why, Ado Annie, where on earth have you been?

:50:37.:50:50.

Hey, there, bride and groom, you ready?

:50:51.:51:18.

What a fantastic performance of Oklahoma by Rodgers and Hammerstein

:51:19.:52:10.

and the wonderful ensemble taking their bowel. Such energy and

:52:11.:52:16.

vivacity they brought to the stage. -- taking their bowel. How they do

:52:17.:52:18.

it, I don't know. Andrew Carnes played

:52:19.:52:23.

by Clive Carter. A Dhoni's long-suffering father.

:52:24.:52:33.

Fabulously creepy performance by David Seadon-Young of Jud Fry. A big

:52:34.:52:41.

cheer for Marcus Brigstocke who played Ali Hakkinen. -- Ali Hakim.

:52:42.:52:54.

Will Parker, played by Robbie Fairchild Mahini of the flying feet

:52:55.:52:58.

and a Durani played by Lizzy Connolly, the girl who can't say no.

:52:59.:53:00.

-- I do Annie. Belinda Lang, who played Aunt Eller.

:53:01.:53:14.

And once again, our leading lady and man, Scarlett Strallen and Nathaniel

:53:15.:53:16.

Hackmann. # Sweetheart, they're

:53:17.:53:26.

suspecting things The final bow from the cast and a

:53:27.:54:31.

huge cheer for John Wilson. Another triumph for the John Wilson

:54:32.:54:36.

Orchestra at the Proms. Just listen to the crowd! CHEERING AND APPLAUSE

:54:37.:54:45.

The leader, Michael Trainor, there. The whole ensemble, orchestra,

:54:46.:54:51.

conductor, lapping it up at the Royal Albert Hall. And that is it

:54:52.:54:59.

from us here this evening. I hope you enjoyed this performance of

:55:00.:55:01.

Oklahoma just as much as we did here. What a lovely night it has

:55:02.:55:03.

been. Join me tomorrow at 7:10pm

:55:04.:55:05.

on BBC Two for Proms Extra where I'll be talking Oklahoma!

:55:06.:55:08.

with my guests - singer and actor Julian Ovenden,

:55:09.:55:11.

harpist Catrin Finch and composer But until then, for now, from me and

:55:12.:55:13.

all the team, good night. Experience the power

:55:14.:56:08.

of the BBC Proms. Aurora Orchestra gets under

:56:09.:56:12.

the skin of the famous work

:56:13.:56:20.

Cowboys and farm girls are let loose in the Royal Albert Hall as the John Wilson Orchestra transports us to the Great American Plains in Oklahoma! Rodgers and Hammerstein's first ever musical was an instant hit when it premiered on Broadway in 1943 and it's not hard to see why - it's chock full of toe-tapping classics, including Oh, What a Beautiful Mornin', People Will Say We're in Love, and of course the title song itself. With a stellar cast, sensational dance numbers and the unique energy of the John Wilson Orchestra, the magic of the original lives on in 2017.