Browse by musical

A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
#

Oklahoma: Musical script


Oklahoma script


(full libretto)

Rodgers eJ Hammerstein
Acting Edition
Rodgers & Hammerstein's
Oklahoma!
Music by
Richard Rodgers
Book & Lyrics by
Oscar Hammerstein II
Based on the play Green Grow the Lilacs by
Lynn Riggs
Original Choreography by
Agnes de Mille
CONCORD
THEATRICALSCopyright © 1943 by Richard Rodgers and Oscar Hammerstein II
Copyright Renewed.
International Copyright Secured.
All Rights Reserved
OKLAHOMA! is fully protected under the copyright laws of the United
States of America, the British Commonwealth, including Canada, and
all member countries of the Berne Convention for the Protection of
Literary and Artistic Works, the Universal Copyright Convention, and/
or the World Trade Organization conforming to the Agreement on Trade
Related Aspects of Intellectual Property Rights. All rights, including
professional and amateur stage productions, recitation, lecturing, public
reading, motion picture, radio broadcasting, television, online/digital
production, and the rights of translation into foreign languages are
strictly reserved.
ISBN 978-0-573-70890-9
www.concordtheatricals.com
www.concordtheatricals.co.uk
FOR PRODUCTION INQUIRIES
UNITED STATES AND CANADA
info@concordtheatricals.com
l-866-979-0447
UNITED KINGDOM AND EUROPE
licensing@concordtheatricals.co.uk
020-7054-7200
Each title is subject to availability from Concord Theatricals Corp.,
depending upon country of performance. Please be aware that
OKLAHOMA! may not be licensed by Concord Theatricals Corp. in
your territory. Professional and amateur producers should contact the
nearest Concord Theatricals Corp. office or licensing partner to verify
availability.
CAUTION: Professional and amateur producers are hereby warned
that OKLAHOMA! is subject to a licensing fee. The purchase, renting,
lending or use of this book does not constitute a license to perform this
title(s), which license must be obtained from Concord Theatricals Corp.
prior to any performance. Performance ofthis title(s) without a license is
a violation offederal law and may subject the producer and/or presenter
of such performances to civil penalties. Both amateurs and professionals
considering a production are strongly advised to apply to the appropriate
agent before starting rehearsals, advertising, or booking a theatre. A
licensing fee must be paid whether the title(s) is presented for charity
or gain and whether or not admission is charged. Professional/Stock
licensing fees are quoted upon application to Concord Theatricals Corp.
This work is published by R&H Theatricals, an imprint of Concord
Theatricals Corp.No one shall make any changes in this title(s) for the purpose of
production. No part ofthis book may be reproduced, stored in a retrieval
system, scanned, uploaded, or transmitted in any form, by any means,
now known or yet to be invented, including mechanical, electronic,
digital, photocopying, recording, videotaping, or otherwise, without the
prior written permission ofthe publisher. No one shall share this title(s),
or any part of this title(s), through any social media or file hosting
websites.
For all inquiries regarding motion picture, television, online/digital and
other media rights, please contact Concord Theatricals Corp.
MUSIC AND THIRD-PARTY MATERIALS USE NOTE
Licensees are solely responsible for obtaining formal written permission
from copyright owners to use copyrighted music and/or other copyrighted
third-party materials (e.g., artworks, logos) in the performance ofthis play
and are strongly cautioned to do so. If no such permission is obtained by
the licensee, then the licensee must use only original music and materials
that the licensee owns and controls. Licensees are solely responsible and
liable for clearances of all third-party copyrighted materials, including
without limitation music, and shall indemnify the copyright owners of
the play(s) and their licensing agent, Concord Theatricals Corp., against
any costs, expenses, losses and liabilities arising from the use of such
copyrighted third-party materials by licensees. For music, please contact
the appropriate music licensing authority in your territory for the rights to
any incidental music.
IMPORTANT BILLING AND CREDIT REQUIREMENTS
Ifyou have obtained performance rights to this title, please refer to your
licensing agreement for important billing and credit requirements.- -
OKLAHOMA! premiered on Broadway at the St. James Theatre on
March 31, 1943. The production was directed by Rouben Mamoulian,
with choreography by Agnes de Mille, scenic design by Lemuel Ayers,
costume design by Miles White, and orchestrations by Russell Bennett.
The stage manager was Ted Hammerstein. The cast was as follows:
AUNT ELLER. ..........................................Betty' Garde
CURLY ..............................................Alfred Drake
LAUREY .............................................Joan Roberts
IKE SKIDMORE ....................................... Barry Kelley
FRED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edwin Clay
SLIM ............................................ Herbert Rissman
WILL PARKER. .......................................... Lee Dixon
JUD FRY ......................................... Howard Da Silva
ADO ANNIE CARNES ................................. Celeste Holm
ALI HAKIM .......................................... Joseph Buloff
GERTIE CUMMINGS ................................. Jane Lawrence
ELLEN / DREAM LAUREY . ......................... Katharine Sergava
KATE .................................................. Ellen Love
SYLVIE ...........................................Joan McCracken
ARMINA . ...........................................Kate Friedlich
AGGIE. ...............................................Bambi Linn
ANDREW CARNES .....................................Ralph Riggs
CORD ELAM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Owen Martin
JESS/ DREAM JUD .................................. George Church
CHALMERS/ DREAM CURLY. ............................. Marc Platt
MIKE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Shiers
JOE ................................................ George Irving
SAM ...............................................Hayes Gordon
ENSEMBLE .............Diana Adams, Elsie Arnold, Bobby Barrentine,
John Baum, Harvey Brown, Kenneth Buffett,
Margit De Kova, Jack Dunphy, Nona Feid,
Gary Fleming, Ray Harrison, Maria Harriton,
Rhoda Hoffman, Edmund Howland, Eric Kristen,
Ken Leroy, Suzanne Lloyd, Dorothea McFarland,
Carl Nelson, Virginia Oswald, Robert Penn,
Vivienne Simon, Faye Smith, Vivian Smith, Billie Zay- -
CHARACTERS
AUNT ELLER
CURLY
LAUREY
IKE SKIDMORE
FRED
SLIM
WILL PARKER
JUD FRY
ADO ANNIE CARNES
ALI HAKIM
GERTIE CUMMINGS
ELLEN
KATE
SYLVIE
ARMINA
AGGIE
ANDREW CARNES
CORD ELAM
MIKE
JOE
SAM
SETTING
Indian Territory (now Oklahoma)
TIME
Just after the turn ofthe century
INCLUSION STATEMENT
In this show, the race of the characters is not pivotal to the plot. We
encourage you to consider diversity and inclusion in your casting choices.A NOTE ON THE DIALECT
As he crafted Oklahoma!, Oscar Hammerstein II sought to capture the
way people spoke in the territory when the story takes place. In order to
guide the performers - who were schooled in fine elocution in the preamplified era - Hammerstein often used dialect. We have maintained
the script and lyrics as Hammerstein wrote them, but note that the
dialect is meant as a guide rather than as indication of exactly how the
words need to be spoken......
......
.....
MUSICAL NUMBERS
ACTI
"Opening Act I: Oh, What A Beautiful Mornin"' .................Curly
"Laurey's Entranee" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Laurey
"The Surrey With The Fringe On Top"........ Curly, Laurey, Aunt Eller
"Kansas City" ................................ Will, Aunt Eller, Boys
"The Surrey With The Fringe On Top (Reprise)".................Curly
"I Cain't Say No"........................................ Ado Annie
"I Cain't Say No (Encore)" ............................... Ado Annie
"Entrance Of Ensemble".................. Will, Ado Annie, Ensemble
"Many A New Day" ................................. Laurey & Girls
"Dance & Many A New Day (Reprise)" ................ Laurey & Girls
"It's A Scandal! It's A Outrage!" ............... Ali Hakim, Boys, Girls
"People Will Say We're In Love" ...................... Curly & Laurey
"Pore Jud Is Daid" ..................................... Curly & Jud
"Lonely Room" ............................................... Jud
"Dream Sequence" .................... Laurey, Girls & Dream Figures
(a) "Melos"
(b) "Out Of My Dreams"
(c) "Interlude To Ballet"
(d) "Dream Ballet"
ACT II
"The Farmer And The Cowman"........ Carnes, Aunt Eller, Curly, Will,
Ado Annie, Slim, Ensemble
'~l Er Nuthin'".................. Ado Annie, Will, 1\vo Dancing Girls
"People Will Say We're In Love (Reprise)".............. Curly & Laurey
"Oklahoma"............................... Curly, Laurey, Aunt Eller,
Ike, Fred, Ensemble
"Oklahoma (Encore)" ...................... Curly, Laurey, Aunt Eller,
Ike, Fred, Ensemble
"Finale Ultimo".......................................... CompanyACTI
[MUSIC NO. 00 "OVERTURE"]
Scene One
The Front Lawn of Laurey's Farmhouse
(The front lawn ofLaurey's farmhouse. ''It
is a radiant summer morning several years
ago, the kind ofmorning which, enveloping
the shapes ofearth - men, cattle in a meadow,
blades ofthe young corn, streams - makes
them seem to exist now for the first time,
their images giving offa golden emanation
that is partly true and partly a trick of
the imagination, focusing to keep alive a
loveliness that may pass away.'?
[MUSIC NO. 01 "OPENING ACT I - OH,
WHAT A BEAUTIFUL MORNIN"']
(AUNT ELLER MURPHY, a buxom, hearty woman
aboutfifty, is seated behind a wooden, brassbanded churn, looking out over the meadow
[which is the audience], a contented look on
herface. Like the voice ofthe morning, a song
comesfrom somewhere, growing louder as the
young singer comes nearer.)
CURLY. (Offitage. He sings casually, with a smile in his
voice.)
THERE'S A BRIGHT, GOLDEN HAZE ON THE MEADOW,
THERE'S A BRIGHT, GOLDEN HAZE ON THE MEADOW.
THE CORN IS AS HIGH AS A ELEPHANT'S EYE,
AN' IT LOOKS LIKE IT'S CLIMBIN' CLEAR UP TO THE SKY.
12
CURLY.
OKLAHOMA!
(On this last line, CURLY saunters on and
stands outside the gate to thefront yard. He
isjoyful and happy.)
OH, WHAT A BEAUTIFUL MORNIN',
OH, WHAT A BEAUTIFUL DAY.
I GOT A BEAUTIFUL FEELIN'
EV'RITHIN'S GOIN' MY WAY.
(He opens the gate and walks over to the
porch, obviously singing for the benefit of
someone inside the house. AUNT ELLER looks
straight ahead, elaborately ignoring CURLY.)
ALL THE CATTLE ARE STANDIN' LIKE STATUES,
ALL THE CATTLE ARE STANDIN' LIKE STATUES.
THEY DON'T TURN THEIR HEADS AS THEY SEE ME RIDE
BY,
BUT A LITTLE BROWN MAV'RICK IS WINKIN' HER EYE.
(He crosses to up right ofAUNT ELLER.)
OH, WHAT A BEAUTIFUL MORNIN',
OH, WHAT A BEAUTIFUL DAY.
I GOT A BEAUTIFUL FEELIN'
EV'RITHIN'S GOIN' MY WAY.
(He comes up behind AUNT ELLER, leans over,
and startles her with a poke in the ribs and
shouts in her ear.)
Hi, Aunt Eller!
AUNT ELLER. Skeer me to death! Whut're you doin' around
here?
CURLY. Come a-singin' to you.
(Strolling afew steps away.)
ALL THE SOUNDS OF THE EARTH ARE LIKE MUSIC -
ALL THE SOUNDS OF THE EARTH ARE LIKE MUSIC.
THE BREEZE IS SO BUSY IT DON'T MISS A TREE,
AND A OLE WEEPIN' WILLER IS LAUGHIN' AT ME!
OH, WHAT A BEAUTIFUL MORNIN',
OH WHAT A BEAUTIFUL DAY.,...,
OKLAHOMA!
I GOT A BEAUTIFUL FEELIN'
EV'RYTHIN'S GOIN' MY WAY...
OH, WHAT A BEAUTIFUL DAY!
(AUNT ELLER resumes churning. CURLY looks
wistfully up at the windows ofthe house, then
turns back to AUNT ELLER.)
AUNT ELLER. If I wasn't a ole womem, and if you wasn't so
young and smart-alecky- why, I'd marry you and git
you to set around at night and sing to me.
CURLY. No, you wouldn't neither. Cuz I wouldn't marry you
ner none ofyer kinfolks, I could he'p it.
(He crosses up to the porch.)
AUNT ELLER. (Wisely.) Oh, none of my kinfolks, huh?
CURLY. (Raising his voice so that Laurey will hear ifshe
is inside the house.) And you c'n tell 'em that, all of 'm
includin' that niece ofyour'n, Miss Laurey Williams!
(AUNT ELLER continues to churn. CURLY comes
down to her and speaks deliberately.)
Aunt Eller, if you was to tell me whur Laurey was at -
whur would you tell me she was at?
AUNT ELLER. I wouldn't tell you a-tall. Fer as fer as I c'n
make out, Laurey ain't payin' you no heed.
CURLY. So, she don't take to me much, huh?
(He crosses up left behind AUNT ELLER.)
Whur'd you git sich a uppity niece 'at wouldn't pay no
heed to me? Who's the best bronc buster in this yere
territory?
AUNT ELLER. You, I bet.
CURLY. And the best bull-dogger in seventeen counties?
Me, that's who! And looky here, I'm handsome, ain't I?
AUNT ELLER. Purty as a pitcher.
CURLY. Curly-headed, ain't I? And bow-legged from the
saddle fer God knows how long, ain't I?
(He bows his legs.)
AUNT ELLER. Couldn't stop a pig in the road.
3......
4
-
OKLAHOMA!
CURLY. Well, whut else does she want then, the damn shemule?
(He crosses down left.)
AUNT ELLER. I don't know. But I'm shore sartin' it ain't you.
Who you takin' to the Box Social tonight?
CURLY. Ain't thought much about it.
AUNT ELLER. Bet you come over to ast Laurey.
CURLY. Whuff I did?
AUNT ELLER. You astin' me too? I'll wear my fascinator.
CURLY. Yeow, you too!
[MUSIC NO. 02 "LAUREY'S ENTRANCE"]
LAUREY. (Offstage.)
OH, WHAT A BEAUTIFUL MORNIN'
(CURLY crosses to the edge ofthe porch steps
and leans against the porch post. LAUREY
enters, carrying an apron.)
OH, WHAT A BEAUTIFUL DAY.
(Spoken as she gives CURLY a briefglance.)
Oh, I thought you was somebody.
(She resumes singing, crosses to clothesline,
and hangs up the apron.)
I GOT A BEAUTIFUL FEELIN'
EV'RYfHIN'S GOIN' MY WAY.
(Spoken as she comes down to AUNT ELLER.)
Is this all that's come a-callin' and it a'ready ten o'clock
of a Sattidy mornin'?
CURLY. You knowed it was me 'fore you opened the door.
.~ LAUREY. No sich of a thing.
CURLY. You did, too! You heared my voice and knowed it
was me.
LAUREY. I heared a voice a-talkin' nimbly along with Aunt
Eller. And heared someone a-singin' like a bullfrog in
a pond.OKLAHOMA!
CURLY. You knowed it was me, so you set in there a-thinkin'
up sump'n mean to say. I'm a good mind not to ast you
to the Box Social.
(AUNT ELLER rises, crosses to clothesline, takes
down quilt,folds it, puts it on porch.)
LAUREY. Ifyou did ast me, I wouldn't go with you. Besides,
how'd you take me? You ain't bought a new buggy with
red wheels onto it, have you?
CURLY. No, I ain't.
LAUREY. And a spankin' team with their bridles all jinglin'?
CURLY. No.
(AUNT ELLER crosses to rocker and sits.)
LAUREY. 'Spect me to ride on behind ole Dun, I guess. You
better ast that ole Cummin's girl you've tuck sich a
shine to, over acrost the river.
CURLY. If I was toast you, they'd be a way to take you, Miss
Laurey Smarty.
LAUREY. Oh, they would?
CURLY.
[MUSIC NO. 03 "THE SURREY WITH THE
FRINGE ON TOP"]
(CURLY now proceeds to stagger LAUREY with
an idea. But she doesn't let on at.first how she
is "tuck up" with it. AUNT ELLER is the one who
falls like a ton of bricks immediately and
helps CURLY try to sell it to LAUREY.)
WHEN I TAKE YOU OUT TONIGHT WITH ME,
HONEY, HERE'S THE WAY IT'S GOIN' TO BE;
YOU WILL SET BEHIND ATEAM OF SNOW-WHITE HORSES
IN THE SLICKEST GIG YOU EVER SEE!
AUNT ELLER. Lands!
CURLY.
CHICKS AND DUCKS AND GEESE BETTER SCURRY
WHEN I TAKE YOU OUT IN THE SURREY,
WHEN I TAKE YOU OUT IN THE SURREY
56 OKLAHOMA!
WITH THE FRINGE ON TOP!
WATCH THET FRINGE AND SEE HOW IT FLUTTERS
WHEN I DRIVE THEM HIGH-STEPPIN' STRUTTERS!
NOSEY-POKES'LL PEEK THRU THEIR SHUTTERS
AND THEIR EYES WILL POP!
THE WHEELS ARE YELLER, THE UPHOLSTERY'S BROWN,
THE DASHBOARD'S GENUINE LEATHER,
WITH ISINGLASS CURTAINS Y'C'N ROLL RIGHT DOWN
IN CASE THERE'S A CHANGE IN THE WEATHER -
TWO BRIGHT SIDE-LIGHTS, WINKIN' AND BLINKIN',
AIN'T NO FINER RIG, I'M A-THINKIN'!
YOU C'N KEEP YER RIG IF YOU'RE THINKIN'
'AT I'D KEER TO SWAP
FER THAT SHINY LITTLE SURREY
WITH THE FRINGE ON THE TOP!
(LAUREY still pretends unconcern, but she is
obviously slipping.)
AUNT ELLER. (Parlando.)
WOULD Y'SAY THE FRINGE WAS MADE OF SILK?
CURLY.
WOULDN'T HAVE NO OTHER KIND OF SILK.
LAUREY. (She's only human.)
HAS IT REALLY GOT A TEAM OF SNOW-WHITE HORSES?
CURLY.
ONE'S LIKE SNOW - THE OTHER'S MORE LIKE MILK.
AUNT ELLER. So y'can tell 'em apart!
CURLY.
(CURLY and LAUREY cross back to the churn.
LAUREY perches on it. CURLY puts hisfoot on
the stool next to it.)
ALL THE WORLD'LL FLY IN A FLURRY
WHEN I TAKE YOU OUT IN THE SURREY,
WHEN I TAKE YOU OUT IN THE SURREY
WITH THE FRINGE ON TOP!
WHEN WE HIT THAT ROAD, HELL FER LEATHER,
CATS AND DOGS'LL DANCE IN THE HEATHER,OKLAHOMA!
BIRDS AND FROGS'LL SING ALL TOGETHER
AND THE TOADS WILL HOP!
THE WIND'LL WHISTLE AS WE RATTLE ALONG,
THE COWS'LL MOO IN THE CLOVER,
THE RIVER WILL RIPPLE OUT AWHISPERED SONG,
AND WHISPER IT OVER AND OVER:
(In a loud whisper.)
DON'T YOU WISHT Y'D GO ON FEREVER?
(Almost involuntarily, AUNT ELLER joins
him.)
CURLY & AUNT ELLER.
DON'T YOU WISHT Y'D GO ON FEREVER?
(Likewise, LAUREYjoins them both.)
LAUREY, CURLY & AUNT ELLER.
DON'T YOU WISHT Y'D GO ON FEREVER
CURLY.
AND UD NEVER STOP
IN THAT SHINY LITTLE SURREY
WITH THE FRINGE ON THE TOP?
(Music continues under dialogue.)
AUNT ELLER. Y'd shore feel like a queen settin' up in that
carriage!
CURLY. (Over-confident.) On'y she talked so mean to me a
while back, Aunt Eller, I'm a good mind not to take her.
LAUREY. Ain't said I was goin'!
CURLY. (Thefool.) Ain't ast you!
LAUREY. Whur'd you git sich a rig at? (With explosive
laughter, seeing a chancefor revenge.) Anh! I bet he's
went and h'ard a rig over to Claremore! Thinkin' I'd go
with him!
CURLY. 'Sall you know about it.
LAUREY. Spent all his money h'arin' a rig and now ain't got
nobody to ride in it!
CURLY. Have, too! ...Did not h'ar it. Made the whole thing
up outa my head.
78 OKLAHOMA!
LAUREY. What! Made it up?
CURLY. Dashboard and all.
LAUREY. (Flying at him.) Oh! Git offa the place, you! Aunt
Eller, make him git his-se'f outa here.
(She picks up a carpet beater and chases
CURLY.)
Tellin' me lies!
CURLY. (Dodfjng her.) Makin' up a few - look out now!
(Hejumps thefence to save himself. LAUREY
turns her back to him and sits down. CURLY
comes up behind her. The music, which had
become more turbulent to match the scene,
now softens.)
Makin' up a few purties ain't agin' no law 'at I know of.
Don't you wisht they was sich a rig, though?
(Winking at AUNT ELLER.)
Nen y'could go to the play party and do a hoe-down till
mornin' ifyou was a mind to...
(He gradually works his way down to the
churn and sits on stool beside LAUREY.)
Nen when you was all wore out, I'd lift you onto the
surrey, and jump up alongside of you - and we'd jist
point the horses home... I can jist pitcher the whole
thing.
(AUNT ELLER beams on them as CURLY sings
very softly.)
I CAN SEE THE STARS GITTIN' BLURRY
WHEN WE RIDE BACK HOME IN THE SURREY,
RIDIN' SLOWLY HOME IN THE SURREY
WITH THE FRINGE ON TOP.
I CAN FEEL THE DAY GITTIN' OLDER,
FEEL A SLEEPY HEAD NEAR MY SHOULDER,
NODDIN: DROOPIN' CLOSE TO MY SHOULDER
TILL IT FALLS, KERPLOP!.....
.....,
OKLAHOMA!
(He places his hand on LAUREYs cheek and
nudges her head to kis shoulder.As he continues
singjng, he smiles at AUNT ELLER, enjoying his
success.)
THE SUN IS SWIMMIN' ON THE RIM OF A HILL,
THE MOON IS TAKIN' A HEADER,
AND JIST AS I'M THINKIN' ALL THE EARTH IS STILL,
A LARK'LL WAKE UP IN THE MEDDER...
(Parlando.)
HUSH!
(Sung.)
YOU BIRD, MY BABY'S A-SLEEPIN' -
MAYBE GOT A DREAM WORTH A-KEEPIN'
(Soothing and slower.)
(Parlando.)
WHOA! YOU TEAM,
(Sung.)
AND JIST KEEP A-CREEPIN'
AT A SLOW CLIP-CLOP.
DON'T YOU HURRY WITH THE SURREY
WITH THE FRINGE ON THE TOP.
(There is silence and contentment, but only
for a brief moment. LAUREY starts slowly
to emerge from the enchantment of his
description.)
LAUREY. On'y...on'y there ain't no sich rig. You said you
made the whole thing up.
CURLY. Well...
LAUREY. (Crossing to right, CURLYfollows her.) Why'd you
come around here with yer stories and lies, gittin' me all
worked up that-a-way? Talkin' 'bout the sun swimmin'
on the hill, and all - like it was so. Who'd want to ride
'longside ofyou anyway?
(IKE and FRED enter and stand outside the
gate, looking on.)
910 OKLAHOMA!
AUNT ELLER. Whyn't youjist grab her and kiss her when she
acts that-a-way, Curly? She's jist achin' fer you to, I bet.
LAUREY. Oh, I won't even speak to him, let alone 'low him
to kiss me, the braggin', bow-legged, wisht-he-had-asweetheart bum!
(She flounces into the house, slamming the
door.)
AUNT ELLER. She likes you - quite a lot.
CURLY. Whew! If she liked me any more she'd sic the dogs
onto me.
IKE. Y'git the wagon hitched up?
AUNT ELLER. Whut wagon?
CURLY. They's a crowd offolks comin' down from Bushyhead
for the Box Social.
FRED. Curly said mebbe you'd loan us yer big wagon to
bring 'em up from the station.
AUNT ELLER. Course I would, ifhe'd ast me.
CURLY. (Embarrassed.) Got to talkin' 'bout a lot of other
things. I'll go hitch up the horses now 'f you say it's all
right.
(As he exits through the gate and goes offleft,
a group ofBOYS run on, leaping the fence,
shouting boisterously and pushing WILL
PARKER infront ofthem. WILL is apparently a
favorite with AUNT ELLER.)
SLIM. See whut we brung you, Aunt Eller!
AUNT ELLER. Hi, Will!
WILL. Hi, Aunt Eller!
AUNT ELLER. Whut happened up at the fair? You do any
good in the steer ropin'?
WILL. I did purty good. I won it.
IKE. Good boy!
FRED. Always knowed y'would.
AUNT ELLER. Ain't nobody c'n sling a rope like our territory
boys.OKLAHOMA!
WILL. Cain't stay but a minnit, Aunt Eller. Got to git over to
Ado Annie. Don't you remember, her paw said 'f I ever
was worth fifty dollars I could have her?
AUNT ELLER. Fifty dollars! That whut they give you fer prize
money?
WILL. That's whut!
AUNT ELLER. Lands, if Ado Annie's paw keeps his promise
we'll be dancin' at yer weddin'.
WILL. If he don't keep his promise I'll take her right from
under his nose, and I won't give him the present
I brung fer him.
(He takes "The Little Wonder"from his pocket.
This is a small, cylindrical toy with a peephole at one end.)
Look, fellers, whut I got for Ado Annie's paw!
(The BOYS crowd around.)
'Scuse us, Aunt Eller.
(Illustrating to the BOYS, lowering his voice.)
You hold it up to yer eyes, like this. Then when you git a
good look, you turn it around at th' top and the pitcher
changes.
IKE. (Looking into it.) Well, I'll be side-gaited!
(The BOYS line up and take turns, making
appropriate exclamations.)
WILL. They call it "The Little Wonder"!
AUNT ELLER. Silly goats!
(But her curiosity gets the better ofher. She
yanks a LITTLE MAN out ofthe line, takes his
place, gets hold of"The Little Wonder," and
takes a look.)
The hussy! ...Ought to be ashamed of herself.
(Glaring at WILL)
You, too! How do you turn the thing to see the other
pitcher?
1112 OKLAHOMA!
(Looking again, and turning.)
AUNT ELLER. Wait, I'm gettin' it...
(When she gets it, she takes it awayfrom her
eye quickly and, handing it to WILL, walks
away in shocked silence. Then she suddenly
"busts out laughin:'?
I'm a good mind to tell Ado Annie on yer.
WILL. Please don't, Aunt Eller. She wouldn't understand.
AUNT ELLER. No tellin' what you been up to. Bet you carried
on plenty in Kansas City.
WILL. I wouldn't call it carryin' on. But I shore did see some
things I never see before.
[MUSIC NO. 04 "KANSAS CITY"]
I GOT TO KANSAS CI1Y ON A FRID'Y.
BY SATTIDY I L'ARNED A THING OR TWO.
FOR UP TO THEN I DIDN'T HAVE AN IDY
OF WHUT THE MODREN WORLD WAS COMIN' TO!
I COUNTED TWENTY GAS BUGGIES GOIN' BY THEIRSEL'S
ALMOST EV'RYTIME I TUCK AWALK.
NEN I PUT MY EAR TO A BELL TELEPHONE
AND A STRANGE WOMERN STARTED IN TO TALK!
AUNT ELLER.
WHUTNEXT!
BOYS. (Spoken.)
YEAH, WHUT!
WILL.
WHUTNEXT?
EV'RYTHIN'S UP TO DATE IN KANSAS CI1Y.
THEY'VE GONE ABOUT AS FUR AS THEY C'N GO!
THEY WENT AND BUILT A SKYSCRAPER SEVEN STORIES
HIGHABOUT AS HIGH AS A BUILDIN' ORTA GROW.
EV'RYTHIN'S LIKE A DREAM IN KANSAS CI1Y.
IT'S BETTER THAN AMAGIC-LANTERN SHOW!
Y'C'N TURN THE RADIATOR ON WHENEVER YOU WANT
SOME HEAT.ALL.
OKLAHOMA!
WITH EV'RY KIND O' COMFORT EVRY HOUSE IS ALL
COMPLETE.
YOU C'N WALK TO PRIVIES IN THE RAIN AN' NEVER WET
YER FEET!
THEY'VE GONE ABOUT AS FUR AS THEY C'N GO!
YES, SIR!
THEY'VE GONE ABOUT AS FUR AS THEY C'N GO!
WILL.
EVRYfHIN'S UP TO DATE IN KANSAS CI1Y.
THEY'VE GONE ABOUT AS FUR AS THEY C'N GO!
THEY GOT A BIG THEAYfER THEY CALL A BURLEEKEW.
FER FIF1Y CENTS YOU C'N SEE A DANDY SHOW.
A BOY. Girls?
WILL.
ALL.
ONE OF THE GALS WAS FAT AND PINK AND PRETTY,
AS ROUND ABOVE AS SHE WAS ROUND BELOW.
I COULD SWEAR THAT SHE WAS PADDDED FROM HER
SHOULDER
TOHER HEEL,
BUT LATER IN THE SECOND ACT WHEN SHE BEGAN TO
PEEL
SHE PROVED THAT EV'RYfHIN' SHE HAD WAS
ABSOLUTELY REAL!
SHE WENT ABOUT AS FUR AS SHE COULD GO!
YES, SIR!
SHE WENT ABOUT AS FUR AS SHE COULD GO!
(WILL starts two-stepping.)
IKE. Whut you doin', Will?
WILL. This is the two-step. That's all they're dancin'
nowadays. The waltz is through. Ketch on to it? A one
and a two - a one and a two. Course they don't do it
alone. C'mon, Aunt Eller.
(WILL dances AUNT ELLER around. At the end
ofthe refrain she is all tuckered out.)
1314 OKLAHOMA!
AUNT ELLER.
AND THAT'S ABOUT AS FURAS I C'N GO!
ALL.
YES, SIR!
AND THAT'S ABOUT AS FURAS SHE C'N GO!
(WILL starts to dance alone.)
FRED. Whut you doin' now, Will?
WILL. That's rag-time. Seen a couple of city fellers doin' it.
ALL.
(And WILL does his stuff, accompanied byfour
ofthe dancing BOYS.)
AND THAT'S ABOUT AS FURAS HE C'NGO!
(At end ofnumber, CURLY enters.)
CURLY. Team's all hitched.
WILL. 'Lo, Curly. Cain't stop to talk. Goin' over to Ado
Annie's. I got fifty dollars.
IKE. Time we got goin', boys. Thanks fer the loan of the
wagon, Aunt Eller.
(They all start to leave.)
Come on, Curly.
CURLY. I'll ketch up with you.
(He makes sure IKE is well on his way, then
turns to AUNT ELLER.)
Aunt Eller, I got to know sumpin'. Listen, who's the low,
filthy sneak 'at Laurey's got her cap set for?
AUNT ELLER. You.
CURLY. Never mind 'at. They must be plenty ofmen a-tryin'
to spark her. And she shorely leans to one of 'em. Now
don't she?
AUNT ELLER. Well, they is that fine farmer, Jace Hutchins,
jist this side of Lone Ellum - nen thet ole widder man
at Claremore, makes out he's a doctor or a vet'nary -
(JUD, a burly, scowling man, enters, carrying
firewood.)....
.....,
.....
,....
l!!llllla!
OKLAHOMA!
CURLY. That's whut I thought. Hello, Jud.
JUD. Hello, yourself.
(He exits into the house.)
AUNT ELLER. (Significantly, looking in JUD~ direction.) Nen
of course there's someone nearer home that's got her
on his mind most ofthe time, till he don't know a plow
from a thrashin' machine.
CURLY. (Jerking his head up toward the house.) Him?
AUNT ELLER. Yeah, Jud Fry.
CURLY. That hardened, growly man?
AUNT ELLER. Now don't you go and say nuthin' agin' him!
He's the best hired hand I ever had. Just about runs the
farm by hisself. Well, two women couldn't do it, you
orta know that.
CURLY. Laurey'd take up 'th a man like that?!
AUNT ELLER. I ain't said she's tuck up with him.
CURLY. Well, he's around all the time, ain't he? Lives here.
AUNT ELLER. Out in the smokehouse.
(JUD entersfrom the house, LAUREYfollowing
him. She lingers near the porch post while
JUD crosses and speaks to AUNT ELLER.)
JUD. Changed my mind about cleanin' the henhouse today.
Leavin' it till tomorrow. Got to quit early cuz I'm drivin'
Laurey over to the party tonight.
(A bombshell!)
CURLY. You're drivin' Laurey?
JUD. Ast her.
(Pointing to LAUREY, who doesn't deny it. JUD
exits. CURLY is completely deflated.)
CURLY. Well, wouldn't that just make you bawl! Well, don't
fergit, Aunt Eller. You and me's got a date together. And
ifyou make up a nice box oflunch, mebbe I'll bid fer it.
AUNT ELLER. How we goin', Curly? In that rig you made up?
I'll ride a-straddle ofthem lights a-winkin' like lightnin'
bugs!
1516
,.....
-
OKLAHOMA!
CURLY. That there ain't no made-up rig, you hear me?
I h'ard it over to Claremore.
(This stuns LAUREY.)
AUNT ELLER. Lands, you did?
[MUSIC NO. 05 "THE SURREY WITH THE
FRINGE ON TOP (REPRISE)"]
CURLY. Shore did.
Purty one, too. When I come callin' fer you right after
supper, see that you got yer beauty spots fastened onto
you proper, so you won't lose 'em off, you hear? ½.t's a
right smart turnout.
(Withfalse bravura, he picks up the refrain.)
THE WHEELS ARE YELLER, THE UPHOLSTERY'S BROWN,
THE DASHBOARD'S GENUINE LEATHER,
WITH ISINGLASS CURTAINS Y'C'N ROLL RIGHT DOWN,
IN CASE THERE'S A CHANGE IN THE WEATHER -
(He breaks offin the song, turning to leave in
the directionfrom which he entered.)
See you before tonight anyways, on the way back from
the station -
(Singi,ng to himselfas he saunters off.)
AIN'T NO FINER RIG, I'M A-THINKIN'...
~T I'D KEER TO SWAP
FER THAT SHINY LITTLE SURREY
WITH THE FRINGE ON THE TOP -
(He is off.)
AUNT ELLER. (Calling ojfstage to him.) Hey, Curly, tell all the
girls in Bushyhead to stop by here and freshen up. It's a
long way to Skidmore's.
(Maybe LAUREY would like to "bust out" into
tears, but she bites her lip and doesn't. AUNT
ELLER studies herfor a moment after CURLY
has gone, then starts up toward the house.)
That means we'll have a lot ofcompany. Better pack yer
lunch hamper.OKLAHOMA!
LAUREY. (A strange, sudden panic in her voice.) Aunt Eller,
don't go to Skidmore's with Curly tonight. Ifyou do, I'll
have to ride with Jud all alone.
AUNT ELLER. That's the way you wanted it, ain't it?
LAUREY. No. I did it because Curly was so fresh. But I'm
afraid to tell Jud I won't go, Aunt Eller. He'd do sumpin
turrble. He makes me shivver ever' time he gits dost to
me... Ever go down to that ole smokehouse where he's
at?
AUNT ELLER. Plen'y times. Why?
LAUREY. Did you see them pitchers he's got tacked onto the
walls?
AUNT ELLER. Oh, yeah I seed them. But don't you pay them
no mind.
LAUREY. Sumpin wrong inside him, Aunt Eller. I hook
my door at night and fasten my winders agin' it. Agin'
it - and the sound offeet a-walkin' up and down there
under that tree outside my room.
AUNT ELLER. Laurey!
LAUREY. Mornin's he comes to his breakfast and looks at
me out from under his eyebrows like sumpin back in
the bresh som'eres. I know whut I'm talkin' about.
(Voices ojfstage. It's ADO ANNIE and the PEDDLER.)
AUNT ELLER. You crazy young 'un! Stop actin' like a chicken
with its head cut off! Now who'd you reckon that is
drove up? Why, it's that ole peddler! The one that sold
me that egg-beater!
LAUREY. (Looking off.) He's got Ado Annie with him! Will
Parker's Ado Annie!
AUNT ELLER. Ole peddler! You know whut he tol' me? Tol'
me that egg-beater ud beat up eggs, and wring out
dishrags, and turn the ice-cream freezer, and I don't
know whut all!
LAUREY. (Calling offitage.) Yoohoo! Ado Annie!
AUNT ELLER. (Shouting offitage.) Hold yer horses, Peddlerman! I want to talk to you!
1718
.....
.....
OKLAHOMA!
(She starts offas ADO ANNIE enters with lunch
hamper.)
ADO ANNIE. Hi, Aunt Eller!
AUNT ELLER. Hi, yourself.
(She exits.)
ADO ANNIE. Hello, Laurey.
LAUREY. Hello. Will Parker's back from Kansas City. He's
lookin' feryer.
(ADO ANNIEs brows knit to meet a sudden
problem.)
ADO ANNIE. Will Parker! I didn't count on him bein' back
so soon!
LAUREY. I can see that! Been ridin' a piece?
ADO ANNIE. The Peddler-man's gonna drive me to the Box
Social. I got up sort of a tasty lunch.
LAUREY. Ado Annie! Have you tuck up with that Peddlerman?
ADO ANNIE. N-not yit.
LAUREY. But yer promised to Will Parker, ain't yer?
ADO ANNIE. Not what you might say promised. I jist told
him mebbe.
LAUREY. Don't y' like him no more?
ADO ANNIE. Course I do. They won't never be nobody like
Will.
LAUREY. Then whut about this Peddler-man?
ADO ANNIE. (Looking offwistfully.) They won't never be
nobody like him, neither.
LAUREY. Well, which one d'you like the best?
ADO ANNIE. Whutever one I'm with!
LAUREY. Well, you air a silly!
ADO ANNIE. Now, Laurey, you know they didn't nobody pay
me no mind up to this year, count of I was scrawny and
flat as a beanpole. Nen I kind of rounded up a little and
now the boys act diff'rent to me.OKLAHOMA!
LAUREY. Well, whut's wrong with that?
ADO ANNIE. Nuthin' wrong. I like it. I like it so much when
a feller talks purty to me I git all shaky from horn to
hoof! Don't you?
LAUREY. Cain't think whut yer talkin' about.
ADO ANNIE. Don't you feel kind of sorry fer a feller when he
looks like he wants to kiss ya?
LAUREY. Well, you jist cain't go around kissin' every man
that asts you! Didn't anybody ever tell you that?
ADO ANNIE. Yeow, they told me...
[MUSIC NO. 06 "I CAIN'T SAY NO"]
IT AIN'T SO MUCH A QUESTION OF NOT KNOWIN' WHUT
TODO,
I KNOWED WHUT'S RIGHT AND WRONG SINCE I BEEN TEN.
I HEARED A LOT OF STORIES - AND I RECKON THEY ARE
TRUEABOUT HOW GIRLS'RE PUT UPON BY MEN.
I KNOW I MUSTN'T FALL INTO THE PIT,
BUT WHEN I'M WITH A FELLER -
(Parlando.)
I FERGIT!
(Sung.)
I'M JIST A GIRL WHO CAIN'T SAY NO,
I'M IN ATURRIBLE FIX.
I ALWAYS SAY, "COME ON, LE'S GO!"
JIST WHEN I ORTA SAY NIX!
WHEN A PERSON TRIES TO KISS A GIRL
I KNOW SHE ORTA GIVE HIS FACE A SMACK.
BUT AS SOON AS SOMEONE KISSES ME
I SOMEHOW SORTA WANTA KISS HIM BACK!
I'M JIST A FOOL WHEN LIGHTS ARE LOW.
I CAIN'T BE PRISSY AND QUAINT -
I AIN'T THE TYPE THET C'N FAINT -
HOW C'N I BE WHUT I AIN'T?
I CAIN'T SAY NO!
1920
-
OKLAHOMA!
WHUT YOU GOIN' TO DO WHEN A FELLER GITS FLIRTY
AND STARTS TO TALK PURTY?
WHUT YOU GOIN' TO DO?
S'POSIN' i\T HE SAYS i\T YER LIPS'RE LIKE CHERRIES,
ER ROSES, ER BERRIES?
WHUT YOU GOIN' TO DO?
S'POSIN' i\T HE SAYS i\T YOU'RE SWEETER'N CREAM
AND HE'S GOTTA HAVE CREAM ER DIE?
WHUT YOU GOIN' TO DO WHEN HE TALKS THET WAY?
SPIT IN HIS EYE?
I'M JIST A GIRL WHO CAIN'T SAY NO,
CAIN'T SEEM TO SAY IT AT ALL.
I HATE TO DISSERPOINT A BEAU
WHEN HE IS PAYIN' A CALL.
FER AWHILE I ACK REFINED AND COOL,
A-SETTIN' ON THE VELVETEEN SETTEE -
NEN I THINK OF THET OLE GOLDEN RULE,
AND DO FER HIM WHUT HE WOULD DO FER ME!
I CAIN'T RESIST A ROMEO
IN A SOMBRERO AND CHAPS.
SOON AS I SIT ON THEIR LAPS
SOMETHIN' INSIDE OF ME SNAPS -
I CAIN'T SAY NO!
(She sits on her hamper and looks discouraged.)
[MUSIC NO.07 ,.I CAIN'T SAY NO(ENCORE)"]
I'M JIST A GIRL WHO CAIN'T SAY NO.
KISSIN'S MY FAVORITE FOOD.
WITH ER WITHOUT THE MISTLETOE
I'M IN A HOLIDAY MOOD.
OTHER GIRLS ARE COY AND HARD TO CATCH,
BUT OTHER GIRLS AIN'T HAVIN' ANY FUN.
EVRY TIME I LOSE AWRESTLIN' MATCH
I HAVE A FUNNY FEELIN' THAT I WON.
THOUGH I C'N FEEL THE UNDERTOW,
I NEVER MAKE A COMPLAINT
TILL IT'S TOO LATE FER RESTRAINT,
THEN WHEN I WANT TO I CAIN'TI CAIN'T SAY NO!--
OKLAHOMA!
(Resuming dialogue after applause.)
It's like I tole you, I git sorry fer them!
LAUREY. I wouldn't feel sorry fer any man, no matter whut!
ADO ANNIE. I'm shore sorry fer pore Ali Hakim now. Look
how Aunt Eller's cussin' him out!
LAUREY. Ali Hakim! That's his name?
ADO ANNIE. Yeah, it's Persian.
LAUREY. You shore fer sartin you love him better'n you love
Will?
ADO ANNIE. I was shore. And now that ole Will has come
home and first thing you know he'll start talkin' purty
to me and changin' my mind back!
LAUREY. But Will wants to marry you.
ADO ANNIE. So does Ali Hakim.
LAUREY. Did he ast yer?
ADO ANNIE. Not direckly. But how I know is he said this
mornin' that he wanted fer me to drive like that with
him to the end ofthe world. Well, 'fwe drove only as fur
as Catoosie that'd take to sundown, wouldn't it? Nen,
we'd have to go some'eres and be all night together, and
bein' all night means he wants a weddin', don't it?
LAUREY. Not to a peddler it don't!
(Enter ALI HAKIM and AUNT ELLER.)
ALI HAKIM. All right! All right! If the egg-beater don't work
I give you something just as good!
AUNT ELLER. Just as good! It's got to be a thousand million
times better!
(ALI puts down his bulging suitcase. He
rushes over and, to LAUREY~ alarm, kisses her
hand.)
ALI HAKIM. My, oh, my! Miss Laurey! Jippety crickets, how
high you have growed up! Last time I come through
here, you was tiny like a shrimp, with freckles. Now
look at you - a great big beautiful lady!
LAUREY. Quit it a-bitin' me! Ifyou ain't had no breakfast go
and eat yerself a green apple.
2122
- -
OKLAHOMA!
ALI HAKIM. Now, Aunt Eller, just lissen -
AUNT ELLER. (Shouting.) I ain't yer Aunt Eller! Don't you
call me Aunt Eller, you little wart. I'm mad at you.
ALI HAKIM. Don't you go and be mad at me. Ain't I said I'd
give you a present?
(Getting his bag.)
Something to wear.
AUNT ELLER. Foot! Got things fer to wear. Wouldn't have it.
Whut is it?
ALI HAKIM. (Holding up garter.) Real silk. Made in Persia!
AUNT ELLER. Whut'd I want with a ole Persian garter?
ADO ANNIE. They look awful purty, Aunt Eller, with bows
onto 'em and all.
AUNT ELLER. I'll try 'em on.
ALI HAKIM. Hold out your foot.
(AUNT ELLER obeys mechanically. But when
ALI gets the garter over her ankle, she kicks
him down.)
AUNT ELLER. Did you have any idy I was goin' ter let you
slide that garter up my limb?
(She stoops over and starts to pull the garter
up.)
Grab onto my petticoats, Laurey.
(Noticing ALI looking at her, she turns her
back on him pointedly and goes on with the
operation. ALI turns to ADO ANNIE.)
ALI HAKIM. Funny woman. Would be much worse if I tried
to take your garters off.
ADO ANNIE. Yeh, cuz that ud make her stockin's fall down,
wouldn't it?
(A slow take, all three looking at ADO ANNIE.)
AUNT ELLER. Now give me the other one.
ALI HAKIM. Which one?OKLAHOMA!
(Picking it out ofhis case.)
Oh, you want to buy this one to match the other one?
AUNT ELLER. Whut do you mean do I want to buy it?
ALI HAKIM. I can let you have it for fifty cents - four bits.
AUNT ELLER. Do you want me to get that egg-beater and
ram it down yer windpipe!
(She snatches the second one away.)
ALI HAKIM. All right - all right. Don't anybody want to buy
something? How about you, Miss Laurey? Must be
wanting something - a pretty young girl like you.
LAUREY. Me? Course I want sumpin. (Working up to a
kind ofabstracted ecstasy.) Want a buckle made outa
shiny silver to fasten onto my shoes! Want a dress with
lace. Want perfume, wanta be purty, wanta smell like a
honeysuckle vine!
AUNT ELLER. Give her a cake of soap.
LAUREY. Want things I've heared of and never had before
- a rubber-t'ard buggy, a cut-glass sugar bowl. Want
things I cain't tell you about - not only to look at and
hold in yer hands. Things to happen to you. Things so
nice, if they ever did happen to you, yer heart ud quit
beatin'. You'd fall down dead!
ALI HAKIM. I've got just the thing!
(He fishes into his satchel and pulls out a
bottle.)
The Elixir of Egypt!
(He holds the bottle high.)
LAUREY. What's 'at?
ALI HAKIM. It's a secret formula, belonged to Pharaoh's
daughter!
AUNT ELLER. (Leaning over and putting her nose to it.)
Smellin' salts!
ALI HAKIM. (Snatching it away.) But a special kind of
smelling salts. Read what it says on the label: "Take a
deep breath and you see everything clear:' That's what
2324 OKLAHOMA!
Pharaoh's daughter used to do. When she had a hard
problem to decide, like what prince she ought to marry,
or what dress to wear to a party, or whether she ought
to cut off somebody's head - she'd take a whiff ofthis.
LAUREY. (Excited.) I'll take a bottle ofthat, Mr. Peddler.
ALI HAKIM. Precious stuff.
LAUREY. How much?
ALI HAKIM. Two bits.
(LAUREY pays him and takes the bottle.)
AUNT ELLER. Throwin' away yer money!
LAUREY. (Holding the bottle close to her, thinking aloud.)
Helps you decide what to do!
ALI HAKIM. Now don't you want me to show you some pretty
dewdads? You know, with lace around the bottom, and
ribbons running in and out?
AUNT ELLER. You mean fancy drawers?
ALI HAKIM. (Taking a pair out ofpack.) All made in Paris.
AUNT ELLER. Well, I never wear that kind myself, but I shore
do like to look at 'em.
(ALI takes out a pair ofredflannel drawers.)
ADO ANNIE. (Dubiously.) Y-yeah, they's all right - if you
ain't goin' no place.
AUNT ELLER. Bring yer trappin's inside and mebbe I c'n find
you sumpin to eat and drink.
(She exits. ALI starts to repack. The TWO GIRLS
whisperfor a moment.)
LAUREY. Well, ast him, why don't you?
(She ~ggles and exits into the house.)
ADO ANNIE. Ali, Laurey and me've been havin' a argument.
ALI HAKIM. About what, baby?
ADO ANNIE. About what you meant when you said that
about drivin' with me to the end ofthe world.
ALI HAKIM. (Ca~ly.) Well, I didn't mean really to the end of
the world.OKLAHOMA!
ADO ANNIE. Then how fur did you want to go?
ALI HAKIM. Oh, about as far as - say - Claremore - to the
hotel.
ADO ANNIE. Whut's at the hotel?
ALI HAKIM. (Ready for the kill.) In front of the hotel is a
veranda - inside is a lobby - upstairs - upstairs might
be Paradise.
ADO ANNIE. I thought they was jist bedrooms.
ALI HAKIM. For you and me, baby - Paradise.
ADO ANNIE. Y'see! I knew I was right and Laurey was
wrong! You do want to marry me, don't you?
ALI HAKIM. (Embracing her impulsively.) Ah, Ado Annie!
(Pulling away.)
What did you say?
ADO ANNIE. I said you do want to marry me, don't you.
What did you say?
ALI HAKIM. I didn't say nothing!
WILL. (Ojfstage.) Whoa, Suzanna! Yoohoo, Ado Annie, I'm
back!
ADO ANNIE. Oh, foot! Just when - 'lo, Will!
(WILL lets out a whoop offstage.)
That's Will Parker. Promise me you won't fight him.
ALI HAKIM. Why fight? I never saw the man before.
(WILL enters.)
WILL. Ado Annie! How's my honey-bunch? How's the sweetest
little hundred-and-ten pounds ofsugar in the territory?
ADO ANNIE. (Confused.) Er - Will, this is Ali Hakim.
WILL. How are yuh, Hak? Don't mind the way I talk. 'S all
right. I'm goin' to marry her.
ALI HAKIM. (Delighted.) Marry her? On purpose?
WILL. Well, sure.
ADO ANNIE. No sich of a thing!
ALI HAKIM. It's a wonderful thing to be married.
(He starts off.)
2526 OKLAHOMA!
ADO ANNIE. Ali!
ALI HAKIM. I got a brother in Persia, got six wives.
ADO ANNIE. Six wives? All at once?
WILL. Shore. ~t's a way they do in them countries.
- ALI HAKIM. Not always. I got another brother in Persia only
got one wife. He's a bachelor.
(Exit.)
ADO ANNIE. Look, Will -
WILL. Look, Will, nuthin'. Know whut I got fer first prize at
the fair? Fifty dollars!
ADO ANNIE. Well, that was good...
(The significance suddenly dawning on her.)
Fifty dollars?
WILL. Ketch on? Yer paw promised I cud marry you 'f I cud
git fifty dollars.
ADO ANNIE. ~t's right, he did.
WILL. Know whut I done with it? Spent it all on presents
fer you!
ADO ANNIE. But ifyou spent it you ain't got the cash.
WILL. Whut I got is worth more'n the cash. Feller who sold
me the stufftold me!
ADO ANNIE. But, Will...
WILL. Stop sayin' "But Will" - when do I git a little kiss? ...
Oh, Ado Annie, honey, y'ain't been off my mind since I
left. All the time at the fair grounds even, when I was
chasin' steers.
(Mimicking the actions as he speaks them.)
I'd rope one under the hoofs and pull him up sharp,
and he'd land on his little rump...
(He looks lovingly at the imaginary steer's
rump.)
Nen I'd think ofyou.
ADO ANNIE. Don't start talkin' purty, Will.......
OKLAHOMA!
WILL. See a lot of beautiful gals in Kansas City. Didn't give
one a look.
ADO ANNIE. How could you see 'em if you didn't give 'em a
look?
WILL. I mean I didn't look lovin' at 'em - like I look at you.
(He turns arid leans into her, slowly and
deliberately, giving her an adoring and
pathetic look.)
ADO ANNIE. (Backing away.) Oh, Will, please don't look
like that! I cain't bear it.
WILL. (Advancing on her.) Won't stop lookin' like this till
you give me a little ole kiss.
ADO ANNIE. Oh, whut's a little ole kiss?
WILL. Nuthin' - less'n it comes from you.
(Both stop.)
ADO ANNIE. (Sighing.) You do talk purty!
(WILL steps up for his kiss. She nearly gives
in, but with sudden and unaccounted-for
strength ofcharacter she turns away.)
No, I won't!
[MUSIC NO.08"ENTRANCE OF ENSEMBLE"]
WILL. (Singing softly, seductively, ''getting" her.)
S'POSIN' ~T I SAY ~TYER LIPS'RE LIKE CHERRIES,
ER ROSES ER BERRIES?
WHUT YOU GONNA DO?
(Putting her hand on his heart.)
CAIN'T YOU FEEL MY HEART PALPATIN' AN' BUMPIN',
A-WAITIN' FER SUMPIN,
SUMPIN NICE FROM YOU?
I GOTTA GIT A KISS AN' IT'S GOTTA BE QUICK
ER I'LL JUMP IN A CRICK AN' DIE!
ADO ANNIE. (Overcome.)
WHUT'SAGIRL TO SAYWHENYOUTALKTHAT-A WAY?
2728
ALL.
OKLAHOMA!
(They almost get to kiss, but on the downbeat
ofthe next bar ofmusic they are abruptly
interrupted by a loud commotion offstage.
The BOYS and GIRLS and CURLY and GERTIE
enter with lunch hampers, shouting and
laughing. WILL and ADO ANNIE run off. AUNT
ELLER and LAUREY come out of the house.
GERTIE laughs musically, an arpeggio up
and down. LAUREY, unmindful ofthe group
ofgirls she has been speaking to, looks across
at CURLY and GERTIE and boils over. All the
couples and CURLY and GERTIE waltz easily
while they sing.)
OH, WHAT A BEAUTIFUL MORNIN',
CURLY.
OH, WHAT A BEAUTIFUL DAY.
ALL.
I GOT A BEAUTIFUL FEELIN'
CURLY.
EV'RITHIN'S GOIN' MY WAY...
AUNT ELLER. (To the rescue.) Hey, Curly! Better take the
wagon down to the troft and give the team some water.
CURLY. Right away, Aunt Eller.
(He turns to go.)
GERTIE. C'n I come, too? Just love to watch the way you
handle horses.
CURLY. (Looking across at LAUREY.) ~A.t's about all I can
handle, I reckon.
GERTIE. Oh, I cain't believe that, Curly - not from whut I
heared about you!
(She takes his arm and walks him off,
turning on more musical laughter. A GIRL
imitates her laugh. Crowd laughs. LAUREY
takes an involuntary step forward, then
stops,frustrated,furious.)OKLAHOMA! 29
....
GIRL. Looks like Curly's tuck up with that Cummin's girl.
-..
LAUREY. Whut'd I keer about that?
(The GIRLS and LAUREY chatter and argue,
ad-lib.)
[MUSIC NO. 09 "MANY A NEW DAY"]
AUNT ELLER. Come on, boys, better git these hampers out
under the trees where it's cool.
~ (Exit AUNT ELLER and BOYS. To show "how
little she keers," LAUREY sings the following
..... song.)
LAUREY.
WHY SHOULD AWOMERN WHO IS HEALTHY AND STRONG
BLUBBER LIKE A BABY IF HER MAN GOES AWAY?
A-WEEPIN' AND A-WAILIN' HOW HE'S DONE HER WRONG -
THAT'S ONE THING YOU'LL NEVER HEAR ME SAY!
NEVER GONNA THINK THAT THE MAN I LOSE
IS THE ONLY MAN AMONG MEN.
I'LL SNAP MY FINGERS TO SHOW I DON'T CARE.
- I'LL BUY ME A BRAND-NEW DRESS TO WEAR.
I'LL SCRUB MY NECK AND I'LL BRESH MY HAIR,
AND START ALL OVER AGAIN!
MANY A NEW FACE WILL PLEASE MY EYE,
MANY A NEW LOVE WILL FIND ME.
NEVER'VE I ONCE LOOKED BACK TO SIGH
OVER THE ROMANCE BEHIND ME.
MANY A NEW DAY WILL DAWN BEFORE I DO!
MANY A LIGHT LAD MAY KISS AND FLY,
- A KISS GONE BY IS BYGONE;
NEVER'VE I ASKED AN AUGUST SKY,
"WHERE HAS LAST JULY GONE?"
NEVER'VE I WANDERED THROUGH THE RYE,
WONDERIN' WHERE HAS SOME GUY GONE -
MANY A NEW DAY WILL DAWN BEFORE I DO!
GIRLS.
MANY A NEW FACE WILL PLEASE MY EYE,
MANY A NEW LOVE WILL FIND ME.30
,....
.....
OKLAHOMA!
NEVER'VE I ONCE LOOKED BACK TO SIGH
OVER THE ROMANCE BEHIND ME.
MANY ANEWDAYWILLDAWNBEFORE I DO!
LAUREY.
NEVER'VE I CHASED THE HONEY-BEE
WHO CARELESSLY CAJOLED ME.
SOMEBODY ELSE JUST AS SWEET AS HE
CHEERED ME AND CONSOLED ME.
NEVER'VE I WEPT INTO MY TEA
OVER THE DEAL SOMEONE DOLED ME.
GIRLS.
MANY A NEW DAY WILL DAWN,
LAUREY.
MANY A RED SUN WILL SET,
MANY A BLUE MOON WILL SHINE, BEFORE I DO!
(A dancefollows.)
[MUSIC NO. 10 "DANCE & MANY A NEW
DAY (REPRISE)"]
SINGING GIRLS.
MANY A NEW FACE WILL PLEASE MY EYE,
MANY A NEW LOVE WILL FIND ME.
NEVER'VE I ONCE LOOKED BACK TO SIGH
OVER THE ROMANCE BEHIND ME.
MANY A NEW DAY WILL DAWN BEFORE I DO!
NEVER'VE I CHASED THE HONEY-BEE
WHO CARELESSLY CAJOLED ME.
SOMEBODY ELSE JUST AS SWEET AS HE
CHEERED ME AND CONSOLED ME.
NEVER'VE I WEPT INTO MY TEA
OVER THE DEAL SOMEONE DOLED ME.
MANY A NEW DAY WILL DAWN,
LAUREY.
MANY A RED SUN WILL SET,
MANY A BLUE MOON WILL SHINE, BEFORE I DO!
(LAUREY and the GIRLS exit. When the stage is
empty, ALI entersfrom the house, ADO ANNIE--
OKLAHOMA!
from the other side ofthe stage. He sees her
and tries to duck back inside, but it's too late.)
ADO ANNIE. Ali Hakim -
ALI HAKIM. Hello, kiddo.
ADO ANNIE. I'm shore sorry to see you so happy, cuz whut
I got to say will make you mis'able... I got to marry Will.
ALI HAKIM. (Faking despair.) That's sad news for me.
(Noble.) Well, he is a fine fellow.
ADO ANNIE. Don't hide your feelin's, Ali. I cain't stand it.
I'd rather have you come right out and say yer heart is
busted in two.
ALI HAKIM. Are you positive you got to marry Will?
ADO ANNIE. Shore's shootin'.
ALI HAKIM. And there is no chance for you to change your
mind?
ADO ANNIE. No chance.
ALI HAKIM. (As ifgranting a smallfavor.) All right, then,
my heart is busted in two.
ADO ANNIE. Oh, Ali, you do make up purty things to say!
CARNES. (Ojfstage.) That you, Annie?
ADO ANNIE. Hello, Paw.
(ANDREW CARNES enters. He is a scrappy man,
carrying a shotgun.)
Whut you been shootin'?
CARNES. Rabbits. That true whut I hear about Will Parker
gittin' fifty dollars?
ADO ANNIE. That's right, Paw. And he wants to hold you to
yer promise.
CARNES. Too bad. Still and all I cain't go back on my word.
ADO ANNIE. (Glancing at ALI HAKIM.) See, Ali!
CARNES. I advise you to git that money off 'n him before
he loses it all. Put it in yer stockin' er inside yer corset
where he cain't git at it...or can he?
ADO ANNIE. But, Paw - he ain't exackly kep' it. He spent it
all on presents...
3132
-
OKLAHOMA!
(ALI is in a panic.)
CARNES. See! Whut'd I tell you! Now he cain't have you. I
said it had to be fifty dollars cash.
ALI HAKIM. But, Mr. Carnes, is that fair?
CARNES. Who the hell are you?
ADO ANNIE. This is Ali Hakim.
CARNES. Well, shet your face, er, I'll fill yer behind so full of
buckshot, you'll be walkin' around like a duck the rest
ofyer life.
ADO ANNIE. Ali, if I don't have to marry Will, mebbe your
heart don't have to be busted in two like you said.
ALI HAKIM. I did not say that.
ADO ANNIE. Oh, yes, you did.
ALI HAKIM. No, I did not.
CARNES. (Brandishing his gun.) Are you tryin' to make out
my daughter to be a liar?
ALI HAKIM. No, I'm just making it clear what a liar I am if
she's telling the truth.
CARNES. Whut else you been sayin' to my daughter?
ADO ANNIE. (Before ALI can open his mouth.) Oh, a awful lot.
CARNES. (To ALI.) When?
ADO ANNIE. Las' night, in the moonlight.
CARNES. (To ALI.) Where?
ADO ANNIE. 'Longside a haystack.
ALI HAKIM. Listen, Mr. Carnes...
CARNES. I'm lissening. Whut else did you say?
ADO ANNIE. He called me his Persian kitten.
CARNES. Why'd you call her that?
ALI HAKIM. I don't remember.
ADO ANNIE. I do. He said I was like a Persian kitten, cuz
they was the cats with the soft round tails.
CARNES. (Cocking his gun.) That's enough. In this part of
the country that better be a proposal of marriage.
ADO ANNIE. That's whut I thought.
CARNES. (To ALI.) Is that whut you think?-
OKLAHOMA!
ALI HAKIM. Look, Mr. Carnes...
CARNES. (Taking aim.) I'm lookin'.
ALI HAKIM. I'm no good. I'm a peddler. A peddler travels up
and down and all around
(Using ADO ANNIE as a buffer, he plants her
between himselfand CARNES.)
and you'd hardly ever see your daughter no more.
(With his gun, CARNES nudges ADO ANNIE out
ofthe way. She moves behind ALI to his right.
CARNES lowers his gun and pats ALI on the
back.)
CARNES. That'd be all right. Take keer ofher, son. Take keer
of my little rosebud.
ADO ANNIE. Oh, Paw, that's purty.
(CARNES starts to exit into the house.)
You shore fer sartin you can bear to let me go, Paw?
(CARNES turns.)
ALI HAKIM. Are you sure, Mr. Carnes?
CARNES. (Patting his gun.) Just you try to change my mind.
(He takes a.firmer grip on his gun and exits
into the house.)
ADO ANNIE. Oh, Ali Hakim, ain't it wonderful, Paw makin'
up our mind fer us? He won't change neither. Onct he
gives his word that you c'n have me, why, you got me.
ALI HAKIM. I know I got you.
ADO ANNIE. (Starry-eyed.) Mrs. Ali Hakim...the peddler's
bride. Wait till I tell the girls.
(She exits. ALI leans against the porch post as
the music starts.)
[MUSIC NO. 11 "IT'S A SCANDAL! IT'S A
OUTRAGE!"]
(Then he starts to pace up and down, thinking
hard, his head bowed, his hands behind
his back. The orchestra starts a vamp that
3334
.....
......
-
OKLAHOMA!
continues under the melody. Some MEN enter
and watch ALI curiously, but he is unmindful
ofthem until they start to sing. Throughout
his entire number, ALI must be burning, and
he transmits his indignation to the MEN who
sing in a spirit ofangry protest by the time
the refrain is reached.)
ALI HAKIM. (Spoken in rhythm. Circling the stage.)
TRAPPED! ...
TRICKED! ...
HOODBLINKED! ...
HAMBUSHED! ...
MEN.
FRIEND,
WHUT'S ON YER MIND?
WHY DO YOU WALK
AROUND AND AROUND,
WITH YER HANDS
FOLDED BEHIND,
ANDYERCHIN
SCRAPIN' THE GROUND?
(ALI walks away, then comes back to them
and starts to pour out his heart.)
ALI HAKIM. (Spokenfreely.)
TWENIY MINUTES AGO I AM FREE LIKE A BREEZE,
FREE LIKE A BIRD IN THE WOODLAND WILD,
FREE LIKE A GYPSY,* FREE LIKE A CHILD,
I'M UNATTACHED!
TWENIY MINUTES AGO I CAN DO WHAT I PLEASE,
FLICK MY CIGAR ASHES ON A RUG,
DUNK WITH A DOUGHNUT, DRINK FROM AJUG -
I'M A HAPPY MAN!
(Crescendo.)
I'M MINDING MY OWN BUSINESS LIKE I OUGHTER,
AIN'T MEANING ANY HARM TO ANYONE.
*All instances of"gypsy" can be changed ifnecessary for your production.
Please submit a dialogue change request to your licensing representative........
....
~
....
i.-..
OKLAHOMA!
I'M TALKING TO A CERTAIN FARMER'S DAUGHTER -
THEN - I'M LOOKING IN THE MUZZLE OF A GUN!
MEN.
IT'S GITTIN' SO YOU CAIN'T HAVE ANY FUN!
EV'RY DAUGHTER HAS A FATHER WITH A GUN!
IT'S ASCANDAL, IT'S A OUTRAGE!
HOW A GAL GITS A HUSBAND TODAY!
ALI HAKIM.
IF YOU MAKE ONE MISTAKE WHEN THE MOON IS BRIGHT,
THEN THEY TIE YOU TO A CONTRACT, SO YOU MAKE IT
EV'RY NIGHT!
MEN.
IT'S A SCANDAL, IT'S A OUTRAGE!
WHEN HER FAMBLY SURROUND YOU AND SAY:
"YOU GOTTA TAKE AN' MAKE AN HONEST WOMERN OUTA
NELL!"
ALI HAKIM.
TO MAKE YOU MAKE HER HONEST, SHE WILL LIE LIKE
HELL!
MEN.
IT'S A SCANDAL, IT'S A OUTRAGE!
ON OUR MANHOOD, IT'S A BLOT!
WHERE IS THE LEADER WHO WILL SAVE US?
AND BE THE FIRST MAN TO BE SHOT?
ALI HAKIM. Me?
MEN. Yes, you!
IT'S A SCANDAL, IT'S A OUTRAGE!
JIST AWINK AND A KISS AND YOU'RE THROUGH!
ALI HAKIM.
YOU'RE A MESS, AND IN LESS THAN AYEAR, BY HECK!
THERE'S A BABY ON YOUR SHOULDER MAK.ING BUBBLES
ON YOUR NECK!
MEN.
(ADO ANNIE and some ofthe GIRLS filter on
from stage right.)
IT'S A SCANDAL, IT'S A OUTRAGE!
ANY FARMER WILL TELL YOU IT'S TRUE.
3536
.....
..-it
OKLAHOMA!
ALI HAKIM.
A ROOSTER IN A CHICKEN COOP IS BETTER OFF'N MEN.
HE AIN'T THE SPECIAL PROPERTY OF JUST ONE HEN!
MEN.
IT'S A SCANDAL, IT'S A OUTRAGE!
IT'S A PROBLEM WE MUST SOLVE!
WE GOTTA START A REVOLUTION!
GIRLS.
ALL RIGHT, BOYS! REVOLVE!
(The BOYS swing around, see the GIRLS and
are immediately cowed. Several ofthe GIRLS go
after their MEN, capturing them and drag~ng
them offin various ways. Four ofthe MEN lift
ALI over their heads and carry him off.As the
music ends, GERTIE enters through the gate
with CURLY as LAUREY enters on the porch and
starts packing her lunch hamper.)
GERTIE. Hello, Laurey. Just packin' yer hamper now?
LAUREY. I been busy.
(GERTIE looks in LAUREYs hamper. AUNT ELLER
enters.)
GERTIE. You got gooseberry tarts, too. Wonder if they is as
light as mine. Mine'd like to float away if you blew on
them.
LAUREY. I did blow on one of mine and it broke up into a
million pieces.
(GERTIE laughs - that laugh again.)
GERTIE. Ain't she funny!
(The GIRLS step towardeach othermenacingly.)
AUNT ELLER. Gertie! Better come inside, and cool off.
GERTIE. You comin' inside with me, Curly?
CURLY. Not jist yet.
GERTIE. Well, don't be too long. And don't fergit when the
auction starts tonight, mine's the biggest hamper.
(The laugh again, and she exits into the house.)- -
OKLAHOMA!
LAUREY. (Going on with her packing.) So that's the
Cummin's girl I heared so much talk of.
CURLY. You seen her before, ain't you?
LAUREY. Yeow. But not since she got so old. Never did see
anybody get so peeked-lookin' in sich a short time.
AUNT ELLER. (Amused at LAUREY.) Yeah, and she says she's
only eighteen. I betcha she's nineteen.
(She exits into the house.)
CURLY. What ya got in yer hamper?
LAUREY. 1\.t's jist some ole meat pies and apple jelly. Nuthin'
like whut Gertie Cummin's has in her basket.
(She sits on the arm ofa rocking chair.)
CURLY. You really goin' to drive to the Box Social with that
Jud feller?
(Pause.)
LAUREY. Reckon so. Why?
CURLY. Nuthin'... It's jist that ev'rybody seems to expec' me
to take you.
(He sits on the other arm ofthe rocker.)
LAUREY. Then, mebbe it's jist as well you ain't. We don't
want people talkin' 'bout us, do we?
CURLY. You think people do talk about us?
LAUREY. Oh, you know how they air - like a swarm of
mudwasps. Alw'ys gotta be buzzin' 'bout sumpin.
CURLY. (Rocking the chair.) Well, whut're they sayin'? That
you're stuck on me?
LAUREY. No. Most ofthe talk is that you're stuck on me.
[MUSIC NO. 12 ''PEOPLE WILL SAY WE'RE
IN LOVE"]
CURLY. Cain't imagine how these ugly rumors start.
LAUREY. Me neither.
WHY DO THEY THINK UP STORIES THAT LINK
MY NAME WITH YOURS?
3738 OKLAHOMA!
CURLY.
WHY DO THE NEIGHBORS GOSSIP ALL DAY
BEHIND THEIR DOORS? .
LAUREY.
I KNOW AWAY TO PROVE WHAT THEY SAY
IS QUITE UNTRUE;
HERE IS THE GIST, A PRACTICAL LIST
OF "DON'TS" FOR YOU:
DON'T THROW BOUQUETS AT ME -
DON'T PLEASE MY FOLKS TOO MUCH,
DON'T LAUGH AT MY JOKES TOO MUCH -
PEOPLE WILL SAY WE'RE IN LOVE!
CURLY. (Leaving her.) Who laughs at yer jokes?
LAUREY. (Following him.)
DON'T SIGH AND GAZE AT ME,
(YOUR SIGHS ARE SO LIKE MINE,)
(CURLY turns to embrace her, she stops him.)
YOUR EYES MUSTN'T GLOW LIKE MINE -
PEOPLE WILL SAY WE'RE IN LOVE!
DON'T START COLLECTING THINGS -
CURLY. Like whut?
LAUREY.
GIVE ME MY ROSE AND MY GLOVE.
(CURLY looks away, guiltily.)
SWEETHEART, THEY'RE SUSPECTING THINGS -
PEOPLE WILL SAY WE'RE IN LOVE!
CURLY.
SOME PEOPLE CLAIM THAT YOU ARE TO BLAME
ASMUCHASl-
(LAUREY is about to deny this.)
WHY DO YOU TAKE THE TROUBLE TO BAKE
MY FAV'RITE PIE?
(Now LAUREY looks guiltily.)
GRANTIN' YOUR WISH, I CARVED OUR INITIALS ON THAT
TREE...OKLAHOMA!
(He points offat the tree.)
JIST KEEP A SLICE OF ALL THE ADVICE
YOU GIVE, SO FREE!
DON'T PRAISE MY CHARM TOO MUCH,
DON'T LOOK SO VAIN WITH ME,
DON'T STAND IN THE RAIN WITH ME -
PEOPLE WILL SAY WE'RE IN LOVE!
DON'T TAKE MY ARM TOO MUCH,
DON'T KEEP YOUR HAND IN MINE,
YOUR HAND FEELS SO GRAND IN MINE,
PEOPLE WILL SAY WE'RE IN LOVE!
DON'T DANCE ALL NIGHT WITH ME,
TILL THE STARS FADE FROM ABOVE.
THEY'LL SEE IT'S ALL RIGHT WITH ME,
PEOPLE WILL SAY WE'RE IN LOVE!
(Music continues as CURLY speaks.)
Don't you reckon y'could tell Jud you'd rather go with
me tonight?
LAUREY. Curly! I - no, I couldn't.
CURLY. Oh, you couldn't?
(Frowning.) Think I'll go down to the smokehouse,
where Jud's at. See whut's so elegant about him, makes
girls wanta go to parties with him.
(He starts off, angrily.)
LAUREY. Curly!
CURLY. (Turning.) Whut?
LAUREY. Nuthin'.
(She watches CURLY as he exits, then sits on
the rocker, crying softly, and starts to sing.)
DON'T SIGH AND GAZE AT ME,
(YOUR SIGHS ARE SO LIKE MINE,)
YOUR EYES MUSTN'T GLOW LIKE MINE -
(Music continues. She chokes up, can't go on.
AUNT ELLER has come out and looks with g;reat
understanding.)
3940
.....
OKLAHOMA!
AUNT ELLER. Got yer hamper packed?
LAUREY. (Snapping out ofit.) Oh, Aunt Eller... Yes, nearly.
AUNT ELLER. Like a hanky?
LAUREY. Whut'd I want with a ole hanky?
AUNT ELLER. Y'got a smudge on yer cheek - jist under yer
eye.
(LAUREY dries her eyes, starts toward the
house, thinks about the bottle of "Elixir of
Egypt," picks it up, looks at AUNT ELLER, and
runs out through the gate and ojfstage. AUNT
ELLER sits in the rocker and hums the refrain,
happy and contented, as the lights dim.)
[MUSIC NO. 13 "CHANGE OF SCENE"],.....
OKLAHOMA!
Scene Two
The Smokehouse
(The smokehouse. Immediately after Scene
One. It is a dark, dirty building where the
meat was once kept. The rafters are smoky,
covered with dust and cobwebs. On a low loft
many things are stored - horse collars, plowshares, a binder twine, a keg ofnails. Under
it, the bed is grimy and never made. On
the walls, tobacco advertisements and pink
covers ofPolice Gazettes. In a corner there
are hoes, rakes, and an axe. Two chairs, a
table, and a spittoon comprise the.furniture.
There is a mirrorfor shaving, severalfarm
lanterns, and a rope. A small window lets in
a little light, but not much.)
(JUD enters and crosses to the table. There is
a knock on the door. JUD rises quickly and
tiptoes to the window to peek outside. Then
he glides swiftly back to the table. Takes out a
pistol and starts to polish it. There is a second
knock.)
JUD. (Calling out sullenly.) Well, open it, cain't you?
CURLY. (Opening the door and strolling in.) Rowdy.
JUD. Whut'd you want?
CURLY. I done got th'ough my business up here at the house.
Just thought I'd pay a call.
(Pause.)
You got a gun, I see.
JUD. Good un. Colt forty-five.
CURLY. Whut do you do with it?
JUD. Shoot things.
CURLY. Oh.
(He moseys around the room casually.)
4142 OKLAHOMA!
CURLY. That there pink picture - now that's a naked
womern, ain't it?
JUD. Yer eyes don't lie to you.
CURLY. Plumb stark naked as ajaybird. No. No, she ain't.
Not quite. Got a couple ofthingam'bobs tied onto her.
JUD. Shucks. That ain't a thing to whut I got here.
(He shoves a pack ofpostcards across the
table toward CURLY.)
Lookit that top one.
CURLY. (Covering his eyes.) I'll go blind! ...
(Tosses it back on the table.)
That ud give me idys, that would.
JUD. (Picking it up and looking at it.) That's a linger, that
IS.
CURLY. (Gravely.) Yeah, that shore is a linger...
(Taking down a rope.)
That's a good-lookin' rope you got there.
(He begins to spin it.)
Spins nice. You know Will Parker? He can shore spin
a rope.
(He tosses one end ofthe rope over the rafter
and pulls down on both ends, tentatively.)
'S a good strong hook you got there. You could hang
yerself on that, Jud.
JUD. I could whut?
CURLY. (Cheeifully.) Hang yerself. It ud be as easy as fallin'
off a log! Fact is, you could stand on a log - er a cheer
if you'd rather - right about here - see? And put this
here around yer neck. Tie that good up there first, of
course. Then all you'd have to do would be to fall offthe
log - er the cheer, whichever you'd ruther fall off of. In
five minutes, or less, with good luck, you'd be laid as a
doornail.
JUD. Whut'd you mean by that?--
.....
--
OKLAHOMA!
CURLY. Nen folks ud come to yer funril and sing sad songs.
JUD. (Disdainfully.) Yamnh!
CURLY. They would. You never know how many people like
you till yer laid.
(As he speaks the next line, he de.fines the space
where the ''coffin" lies.)
Y'd prob'ly be laid out in the parlor.
(Gesturing over "Jud's body"as he speaks.)
Y'd be all diked out in yer best suit with yer hair combed
down slick, and a high starched collar.
JUD. (Beginning to visualize the ''scene" CURLY is setting.)
Would they be any flowers, d'you think?
CURLY. Shore would, and palms, too - all around yer
cawfin. Nen folks ud stand around you and the men ud
bare their heads and the womern would sniffle softly.
Some'd prob'ly faint - ones that tuck a shine to you
when you wuz alive.
JUD. Whut womern ever tuck a shine to me?
CURLY. Lots of womern. On'y they don't never come right
out and show you how they feel -
(Again indicating the "coffin.'?
less'n you die first.
JUD. (Thoughtfully.) I guess that's so.
CURLY. They'd shore sing loud though when the singin'
started - sing like their hearts ud break!
[MUSIC NO. 14 "PORE JUD IS DAID"]
(He starts to sing very earnestly and
solemnly, improvising the sort of thing he
thinks might be sung.)
PORE JUD IS DAID,
PORE JUD FRY IS DAID!
ALL GETHER ROUND HIS CAWFIN NOW AND CRY.
HE HAD A HEART OF GOLD
AND HE WASN'T VERY OLD -
OH, WHY DID SICH A FELLER HAVE TO DIE?
4344
-
--
OKLAHOMA!
(During the following, JUD slowly stands,
next to but not too close to CURLY, mesmerized
by the imaginary body laid out in front of
them.)
PORE JUD IS DAID,
PORE JUD FRY IS DAID!
HE'S LOOKIN: OH, SO PEACEFUL AND SERENE.
JUD. (Touched and suddenly carried away, he sings a soft
response.)
AND SERENE!
(Takes offhat.)
CURLY.
HE'S ALL LAID OUT TO REST
WITH HIS HANDS ACROST HIS CHEST.
HIS FINGERNAILS HAVE NEVER B'EN SO CLEAN!
(JUD turns slowly to question the good taste of
this last reference, but CURLY plunges straight
into another item ofthe imagined wake.)
Nen the preacher'd git up and he'd say:
(Chanting.) "Folks! We are gethered here to moan and
groan over our brother Jud Fry who hung hisse'f up by
a rope in the smokehouse:'
(Speaking.) Nen there'd be weepin' and wailin'
(Significantly.) from some ofthose womern.
(JUD nods his head understandingly.)
Nen he'd say, (Chanting.) '1udwas the most misunderstood
man in the territory. People useter think he was a mean,
ugly feller.
(JUD looks up.)
'~d they called him a dirty skunk and a ornery pigstealer.
(CURLY switches quickly; he sings.)
"BUT - THE FOLKS ~T REALLY KNOWED HIM,
KNOWED ~T BENEATH THEM TWO DIRTY SHIRTS HE
ALW'YS WORE,
THERE BEAT A HEART AS BIG AS ALL OUTDOORS:'-
_,
......
OKLAHOMA!
JUD. (Repeating reverently like someone at a revivalist
meeting.)
AS BIG AS ALL OUTDOORS.
CURLY.
JUD FRY LOVED HIS FELLOW MAN.
JUD.
HE LOVED HIS FELLOW MAN.
(CURLY is warming up and speaks with the
impassioned inflections ofan Evangelist.)
CURLY. He loved the birds of the forest and the beasts of
the field. He loved the mice and the vermin in the barn,
and he treated the rats like equals - which was right.
And he loved little children. He loved ev'body and
ev'thin' in the world! ...Only he never let on, so nobody
ever knowed it!
(Returning to vigorous song.)
PORE JUD IS DAID,
PORE JUD FRY IS DAID!
HIS FRIENDS'LL WEEP AND WAIL FER MILES AROUND.
JUD. (Now right into it.)
MILES AROUND.
CURLY.
JUD.
THE DAISIES IN THE DELL
WILL GIVE OUT A DIFF'RUNT SMELL
BECUZ PORE JUD IS UNDERNEATH THE GROUND.
(JUD is too emotionally exalted by the spirit
ofCURLY'S singing to be analytical. He now
takes up a refrain ofhis own.)
PORE JUD IS DAID,
A CANDLE LIGHTS HIS HAID,
HE'S LAYIN' IN A CAWFIN MADE OF WOOD -
CURLY.
WOOD.
JUD.
AND FOLKS ARE FEELIN' SAD
CUZ THEY USETER TREAT HIM BAD,
4546 OKLAHOMA!
AND NOW THEY KNOW THEIR FRIEND HAS GONE FER
GOODCURLY. (Softly.)
GOOD.
JUD&CURLY.
PORE JUD IS DAID,
A CANDLE LIGHTS HIS HAID!
CURLY.
HE'S LOOKIN', OH, SO PUR1Y AND SO NICE.
HE LOOKS LIKE HE'S ASLEEP.
IT'S A SHAME THAT HE WON'T KEEP,
BUT IT'S SUMMER AND WE'RE RUNNIN' OUT OF ICE...
JUD & CURLY. (Singing in harmony.)
POREJUD!
POREJUD!
(JUD breaks down, weeps, and sits at the table,
burying his head in his arms.)
CURLY. Yes, sir. That's the way it ud be. Shore be an
interstin' funril. Wouldn't like to miss it.
JUD. (His eyes narrowing.) Wouldn't like to miss it, eh?
Well, mebbe you will.
(He resumes polishing the gun.)
Mebbe you'll go first.
CURLY. (Sitting down.) Mebbe... Le's see now, whur did you
work at before you come here? Up by Quapaw, wasn't
it?
JUD. Yeah, and before that over by Tulsa. Lousy they was
to me. Both of 'em. Always makin' out they was better.
Treatin' me like dirt.
CURLY. And whut'd you do - git even?
JUD. Who said anythin' about gittin' even?
CURLY. No one, that I recollect. Itjist come into my head.
JUD. If it ever come to gittin' even with anybody, I'd know
how to do it.
CURLY. (Looking down at gun and pointing.) That?....,
....
-
OKLAHOMA!
JUD. Nanh! They's safer ways then that, if you use yer
brains... 'Member that far on the Bartlett farm over by
Sweetwater?
CURLY. Shore do. 'Bout five years ago. Turrble accident.
Burned up the father, and mother and daughter.
JUD. That warn't no accident. A feller told me - the h'ard
hand was stuck on the Bartlett girl, and he found her in
the hayloft with another feller.
CURLY. And it was him that burned the place?
JUD. (Nodding.) It tuck him weeks to git all the kerosene -
buying it at different times - feller who told me made
out it happened in Missouri, but I knowed all the time
it was the Bartlett farm. Whut a liar he was!
CURLY. A kind of a murderer, too. Wasn't he?
(He rises, goes over to the door, and opens it.)
Git a little air in here.
JUD. You ain't told me yet whut business you had here. We
got no cattle to sell ner no cow ponies. The oat crop is
done spoke fer.
CURLY. You shore relieved my mind consid'able.
JUD. (Tensely.) They's on'y one other thing on this farm you
could want - and it better not be that!
CURLY. (Closing the door deliberately and turning slowly to
face JUD.) But that's jist whut it is.
JUD. Better not be! You keep away from her, you hear?
CURLY. (Coolly.) You know somebody orta tell Laurey whut
kind of a man you air. And fer that matter, somebody
orta tell you onct about yerself.
JUD. You better git outa here, Curly.
CURLY. A feller wouldn't feel very safe in here with you...
'fhe didn't know you.
(Acidly.) But I know you, Jud.
(He looks JUD straight in the eye. As he
continues, he crosses upstage behind JUD,
slowly closing in on him.)
4748
~
OKLAHOMA!
CURLY. In this country, they's two things you c'n do ifyou're
a man. Live out of doors is one. Live in a hole is the
other. I've set by my horse in the bresh som'eres and
heared a rattlesnake many a time. Rattle, rattle, rattle!
- he'd go, skeered to death. Somebody comin' close to
his hole! Somebody gonna step on him! Git his old
fangs ready, full of pizen! Curl up and wait! - Long's
you live in a hole, you're skeered, you got to have
perfection. You c'n have muscles, oh, like arn - and still
be as weak as a empty bladder - less'n you got things to
barb yer hide with.
(Suddenly, harshly, directly to JUD.) How'd you git to
be the way you air, anyway - settin' here in this filthy
hole - and thinkin' the way you're thinkin'? Why don't
you do sumpin healthy onct in a while, 'stid of stayin'
shet up here - a-crawlin' and festerin'!
(JUDs polishing ofhis gun has turned into a
kind ofdesperatefrenzy. In a reflex action, he
raises his arm and the gun goes off)
JUD.Anh!
(Luckily the gun i,s pointed toward the ceiling.)
CURLY. (Reacting to the shot, he draws his own gun.) You
orta feel better now. Hard on the roof, though. I wisht
you'd let me show you sumpin.
(JUD doesn't move, but stands staring into
CURLYs eyes.)
They's a knot-hole over there about as big as a dime.
See it a-winkin'? I jist want to see if I c'n hit it.
(Unhurriedly, with cat-like tension, he turns
and.fires high up at the wall.)
Bullet right through the knot-hole, 'thout tetchin', slick
as a whistle, didn't I? I knowed I could do it. You saw
it, too, didn't you?
(Ad-lib offstage.)
Somebody's a-comin~ I 'spect.OKLAHOMA!
(CURLY and JUD assume casual positions.
AUNT ELLER, ALI HAKIM, and several others
come running in.)
AUNT ELLER. (Gaspingfor breath.) Who f'ard off a gun? Was
that you, Curly? Don't set there, you lummy. Answer
when you're spoke to?
CURLY. Well, I shot onct.
AUNT ELLER. What was you shootin' at?
CURLY. (Rises.) See that knot-hole over there?
AUNT ELLER. I see lots ofknot-holes.
CURLY. Well, it was one ofthem.
AUNT ELLER. (Exasperated.) Well, ain't you a pair of purty
nuthin's, a-pickin' away at knot-holes and skeerin'
everybody to death! Orta give you a good Dutch rub
and am some ofthe craziness out ofyou!
(Calling offto people in doorway.) 'Sall right! Nobody
hurt. Just a pair of fools swappin' noises.
(She exits.)
ALI HAKIM. (Appearing in the doorway.) Mind if I visit with
you, gents? It's good to get away from the women for
a while. Now then, we're all by ourselves. I got a few
purties, private knickknacks for to show you. Special
for the menfolks.
(He starts to get them out.)
CURLY. See you gentlemen later. I gotta git a surrey I h'ard
fer tonight.
(He starts to go.)
ALI HAKIM. (Shoving cards under JUD~ nose.) Art postcards.
JUD. (To CURLY.) Who you think yer takin' in that surrey?
CURLY. Aunt Eller - and Laurey, if she'll come with me.
JUD. She won't.
CURLY. Mebbe she will.
(He exits.)
4950 OKLAHOMA!
JUD. (Raising his voice after CURLY.) She promised to go
with me, and she better not change her mind. She
better not!
ALI HAKIM. Now, I want you to look at these straight from
Paris.
JUD. I don't want none o' them things now. Got any frog
stickers?
ALI HAKIM. You mean one ofthem long knives? What would
you want with a thing like that?
JUD. I dunno. Kill a hog - er a skunk. It's all the same, ain't
it? I tell you whut I'd like better'n a frog sticker, if you
got one. Ever hear of one of them things you call "The
Little Wonder"? It's a thing you hold up to your eyes to
see pitchers, only that ain't all they is to it...not quite.
Y'see it's got a little jigger onto it, and you tetch it and
out springs a sharp blade.
ALI HAKIM. On a spring, eh?
JUD. Y'say to a feller, "Look through this." Nen when he's
looking you snap out the blade. It's jist above his chest
and, bang! Down you come.
(Slaps ALI on the chest, knocking the wind
from him.)
ALI HAKIM. (He recoversfrom the blow, but JUD is beginning
to make him nervous.) A good joke to play on a friend...
I - er - don't handle things like that. Too dangerous.
What I'd like to show you is my new stock of postcards.
JUD. Don't want none. Sick ofthem things. I'm going to get
me a real womern.
ALI HAKIM. What would you want with a woman? Why, I'm
having trouble right now, all on account of a woman.
And you say you want one. Why? Look at you! You're a
man who is free to come and go as you please. You got
a nice cozy little place.
(Looking the place over.)
Private. Nobody to bother you. Artistic pictures. They
don't talk back to you...- -
OKLAHOMA!
JUD. I'm t'ard of all these pitchers ofwomern!
ALI HAKIM. All right. You're tired of them. So throw 'em
away and buy some new ones.
(Showing JUD cards again.)
You get tired of a woman and what can you do?
Nothing! Just keep getting tireder and tireder!
JUD. I made up my mind.
ALI HAKIM. (He packs his bag and starts off. Suddenly, a
light bulb goes offin his head, and he pauses.) So...
(Back to JUD.) you want a real woman? Say, do you
happen to know a girl named Ado Annie?
JUD. I don't want her.
ALI HAKIM. I don't want her either. But I got her!
(He exits.)
JUD. Don't want nuthin' from no peddler. Want real things!
Whut am I doin' shet up here - like that feller says -
a-crawlin' and a-festerin'? Whut am I loin' in this lousy
smokehouse?
[MUSIC NO. 15 "LONELY ROOM"]
(He sits and looks about the room, scowling.
Then he starts to sing, half-talking atfirst,
then singing in.full voice.)
THE FLOOR CREAKS,
THE DOOR SQUEAKS,
THERE'S A FIELD MOUSE A-NIBBLIN' ON A BROOM,
AND I SET BY MYSELF
LIKE A COBWEB ON A SHELF,
BY MYSELF IN A LONELY ROOM.
(Rising.)
BUT WHEN THERE'S A MOON IN MY WINDER
AND IT SLANTS DOWN A BEAM 'CROST MY BED,
THEN THE SHADDER OF ATREE STARTS A-DANCIN' ON
THE WALL
AND A DREAM STARTS A-DANCIN' IN MY HEAD.
AND ALL THE THINGS THAT I WISH FER
5152
-
OKLAHOMA!
TURN OUT LIKE I WANT THEM TO BE,
AND I'M BETTERN THAT SMART ALECK COWHAND
WHO THINKS HE IS BETTERN ME
AND THE GIRL THAT I WANT
AIN'T AFRAID OF MY ARMS,
AND HER OWN SOFT ARMS KEEP ME WARM.
AND HER LONG, WAVY HAIR
FALLS ACROST MY FACE
JIST LIKE THE RAIN IN A STORM!
THE FLOOR CREAKS,
THE DOOR SQUEAKS,
AND THE MOUSE STARTS A-NIBBLIN' ON THE BROOM.
AND THE SUN FLICKS MY EYES -
IT WAS ALL A PACK O' LIES!
I'M AWAKE IN A LONELY ROOM...
I AIN'T GONNA DREAM 'BOUT HER ARMS NO MORE!
I AIN'T GONNA LEAVE HER ALONE!
GOIN' OUTSIDE,
GIT MYSELF A BRIDE,
GIT ME AWOMERN TO CALL MY OWN.
[MUSIC NO. 16 "CHANGE OF SCENE"]
*Original: "yeller.".....
-
OKLAHOMA!
Scene Three
A Grove on Laurey's Farm
(At Rise: A grove on Laurey's farm. Small
groups of YOUNG WOMEN are relaxing,
chatting and gossiping. One group watches
VIVIAN tell the fortune ofa GIRL seated on a
stool. To their left, GERTIE observes them.)
[MUSIC NO. 17A "DREAM SEQUENCE:
MELOS"]
VIVIAN. (Taking a cardfrom the deck.) ...And in your future
I see a dark, handsome man.
(Laughterfrom GIRLS. LAUREY enters.)
LAUREY. Girls, could you - could you go som'eres else and
tell fortunes? I gotta be here by mysel£
GERTIE. (Pointing to bottle.) Look! She bought 'at ole
smellin' salts the peddler tried to sell us!
LAUREY. It ain't smellin' salts. It's goin' to make up my mind
fer me. Lookit me take a good whiff now!
(She coughs.)
GERTIE. That's the camphor.
(She exits laughing.)
LAUREY. Please, girls, go away.
(The GIRL on the stool rises as the group
reforms. LAUREY closes her eyes tight.)
ELLEN. Hey, Laurey, is it true you're lettin' Jud take you
tonight 'stid of Curly?
(This captures the attention of the other
GIRLS.)
LAUREY. (Moves to stool as she speaks.) Tell you better when
I think ever'thin' out clear.
(She sits.)
Beginnin' to see things clear a'ready.
5354
-
....
OKLAHOMA!
(Two ofthe GIRLS rise in place. As the singing
continues the WOMEN move closer to LAUREY.)
KATE. I c'n tell you whut you want...
[MUSIC NO. 17B "DREAM SEQUENCE
OUT OF MY DREAMS"]
OUT OF YOUR DREAMS
AND INTO HIS ARMS
YOU LONG TO FLY.
ELLEN.
YOU DON'T NEED
EGYPTIAN SMELLIN' SALTS
TO TELL YOU WHY!
KATE.
OUT OF YOUR DREAMS
AND INTO THE HUSH
OF FALLING SHADOWS.
VIRGINIA.
WHEN THE MIST IS LOW,
AND STARS ARE BREAKING THROUGH,
VIVIAN.
THEN OUT OF YOUR DREAMS YOU'LL GO -
ALL FOUR GIRLS.
INTO A DREAM COME TRUE.
ALL GIRLS. (Moving quickly, they surround LAUREY, those
closest to her, kneeling.)
MAKE UP YOUR MIND,
MAKE UP YOUR MIND, LAUREY,
LAUREY DEAR.
MAKE UP YOUR OWN,
MAKE UP YOUR OWN STORY,
LAUREY DEAR.
OLE PHARAOH'S
DAUGHTER WON'T TELL YOU
WHATTODO.
ASK YOUR HEART -
WHATEVER IT TELLS YOU WILL BE TRUE.
(They drift offas LAUREY sings.),...,
.....
......
....
-
--
OKLAHOMA!
LAUREY.
OUT OF MY DREAMS
AND INTO YOUR ARMS
I LONG TO FLY.
I WILL COME AS EVENING COMES
TO WOO AWAITING SKY.
OUT OF MY DREAMS
AND INTO THE HUSH
OF FALLING SHADOWS -
(CURLY enters in another spot, walking slowly
and standing perfectly still. In the original
production, LAUREY, CURLY, and JUD had
ballet counterparts that entered at this point
and took over the dancing. Some modern
productions have used the same actors who
play the roles to perform the ballet. Either
way is.fine.)
WHEN THE MIST IS LOW,
AND STARS ARE BREAKING THROUGH,
(The dancing counterparts of LAUREY and
CURLY enter and stand behind their originals,
duplicating their gestures.)
THEN OUT OF MY DREAMS I'LL GO,
INTO A DREAM WITH YOU.
(The real CURLY and the real LAUREY back
off slowly and leave the stage to their
counterparts, who move toward each other
and meet center. The sceneryflies, leaving an
empty stage.)
[MUSIC NO. 17C "DREAM SEQUENCE:
INTERLUDE TO BALLET"]
[MUSIC NO. 17D "DREAM SEQUENCE:
BALLET"]
(The things LAUREY sees in her dream that
help her make up her mind.)
5556
,....
OKLAHOMA!
(These dream.figures of LAUREY and CURLY
dance ecstatically. A YOUNG GIRL enters, sees
them, and bounds offto break the news, and
soon others dance on and offgaily. Two of
CURLY'S COWBOY FRIENDS stroll by and wave
their greeting. CURLY kisses LAUREY again
and walks away, happy and smug.)
(A LITTLE GIRL runs on, presents LAUREY with
a nosegay, and then bursts into tears. More
GIRL FRIENDS dance in and embrace her. A
bridal veilfloats down from the skies, and
they place it on her head. CURLY and the BOYS
enter, in the manner ofcowboys astride their
horses. Following a gay dance, the music
slows to wedding-march tempo. CURLY, a
serious expression on his face, awaits his
bride, who walks down an aisleformed by the
GIRLS.)
(Now the ballet counterpart of JUD walks
slowly forward and takes o.ffLAUREYs veil.
Expecting to see her lover, CURLY, she looks up
and.finds JUD. Horrified, she backs away. Her
friends, with stonyfaces, look straight ahead
ofthem. CURLY, too, is stern and austere, and
when LAUREY appeals to him, he backs away
from her. All ofthem leave her. She is alone
with JUD.)
(JUD starts to dance with LAUREY, but he
is soon diverted by the entrance of three
DANCE-HALL GIRLS who look very much like
the Police Gazette pictures LAUREY has seen
tacked on to Juds walls in the smokehouse.
Some of the COWBOYS follow the GIRLS on,
and whistle at them. But that is asfar as they
go. The COWBOYS are timid and inexpert in
handling these sophisticated WOMEN. The
WOMEN do an amusing, satirically bawdy
dance. Then JUD and the BOYS dance with
them.)-
OKLAHOMA!
(After the GIRLS dance off, LAUREY and JUD
are again alone. CURLY enters, and the longawaited conflict with JUD is now unavoidable.
CURLY, his hand holding an imaginary
pistol,fires at JUD again and again, but JUD
keeps slowly advancing on him, immune to
the bullets. A.fierce.fight ensues. The FRIENDS
ofLAUREY and CURLY run helplesslyfrom one
side to the other. Just when the tables seem
to have turned in CURLYsfavor, JUD gets a
death grip on his throat. He is killing CURLY.
LAUREY runs up to him and begs him to
release her lover. It is clear by her pantomime
that she will give herself to JUD to save
CURLY. JUD drops CURLYs limp body, picks
up LAUREY, and carries her away. Over JUDs
shoulder she blows a feeble, heartbroken kiss
to CURLYs prostrateform on the ground. The
CROWD surrounds him, masking his body,
and exiting with him in the dark as a spot
comes up, revealing the real LAUREY being
shaken out ofher dream by the real JUD.)
JUD. Wake up, Laurey. It's time to start fer the party.
(As LAUREY awakens and starts mechanically
to go with JUD, the real CURLY enters
expectantly. LAUREY hesitates. JUD holds
out his arm and scowls. Remembering the
disaster ofher recent dream, she avoids its
reality by taking JUDs arm and going with
him, looking wistfully back at CURLY with
the same sad eyes that her ballet counterpart
had on her exit. CURLY stands alone, puzzled,
dejected, and defeated, as the curtain/alls.)
57.....
~
CARNES.
ACT II
[MUSIC NO. 18 "ENTR'ACTE"]
[MUSIC NO. 19 "THE FARMER AND THE
COWMAN"]
Scene One
The Skidmore Ranch
(The Skidmore ranch. Skidmore's GUESTS are
dancing a ''set" as the curtain rises.)
(In the original production, the DANCERS
started dancing eight bars before the curtain
came up so that they would be infull swing
at curtain. The audience could hear them
talking and laughing before the curtain rose.)
(The melody settles into a "vamp," and
CARNES holds up his hand as a signal that
he wants to sing. The DANCERS scatter and
CARNES takes over.)
THE FARMER AND THE COWMAN SHOULD BE FRIENDS,
OH, THE FARMER AND THE COWMAN SHOULD BE
FRIENDS.
ONE MAN LIKES TO PUSH A PLOUGH,
THE OTHER LIKES TO CHASE A COW,
BUT THAT'S NO REASON WHY THEY CAIN'T BE FRIENDS.
TERRITORY FOLKS SHOULD STICK TOGETHER,
TERRITORY FOLKS SHOULD ALL BE PALS.
COWBOYS, DANCE WITH THE FARMERS' DAUGHTERS!
FARMERS, DANCE WITH THE RANCHERS' GALS!
5960 OKLAHOMA!
CHORUS. (Dancing as they sing.)
TERRITORY FOLKS SHOULD STICK TOGETHER,
TERRITORY FOLKS SHOULD ALL BE PALS.
COWBOYS, DANCE WITH THE FARMERS' DAUGHTERS!
FARMERS, DANCE WITH THE RANCHERS' GALS!
CARNES.
I'D LIKE TO SAY AWORD FER THE FARMER.
AUNT ELLER. Well, say it!
CARNES.
HE COME OUT WEST AND MADE A LOT OF CHANGES.
WILL. (Scornfully; singing.)
HE COME OUT WEST AND BUILT A LOT OF FENCES!
CURLY.
AND BUILT 'EM RIGHT ACROST OUR CATTLE RANGES!
CORD ELAM. (A cowman.) Whyn't those dirtscratchers stay
in Missouri where they belong?
FARMER. We got as much right here -
CARNES. (Shouting.) Gentlemen - shut up!
(Quiet restored, he resumes singing.)
THE FARMER IS A GOOD AND THRIFIT CITIZEN.
FRED. He's thrifty, all right.
CARNES. (Glaring at FRED, he continues with song.)
NO MATTER WHUT THE COWMAN SAYS OR THINKS,
YOU SELDOM SEE 'IM DRINKIN' IN A BAR ROOM -
CURLY.
UNLESS SOMEBODY ELSE IS BUYIN' DRINKS!
CARNES.(Bargingin quickly to save theparty's respectability.)
BUT THE FARMER AND THE COWMAN SHOULD BE
FRIENDS,
OH, THE FARMER AND THE COWMAN SHOULD BE
FRIENDS.
THE COWMAN ROPES A COW WITH EASE,
THE FARMER STEALS HER BUTTER AND CHEESE,
BUT THAT'S NO REASON WHY THEY CAIN'T BE FRIENDS!
ALL.
TERRITORY FOLKS SHOULD STICK TOGETHER,....
OKLAHOMA!
TERRITORY FOLKS SHOULD ALL BE PALS.
COWBOYS, DANCE WITH THE FARMERS' DAUGHTERS!
FARMERS, DANCE WITH THE RANCHERS' GALS!
(On the vamp, the DANCERS bow to CARNES
and skip back to place.)
AUNT ELLER.
I'D LIKE TO SAY AWORD FER THE COWBOY...
FARMER. (Anxious to get back at the cowmen.) Oh, you
would!
AUNT ELLER.
THE ROAD HE TREADS IS DIFFICULT AND STONY.
HE RIDES FER DAYS ON END
WITH JIST A PONY FER A FRIEND...
ADO ANNIE.
I SHORE AM FEELIN' SORRY FER THE PONY!
AUNT ELLER.
THE FARMER SHOULD BE SOCIABLE WITH THE COWBOY,
IF HE RIDES BY AND ASKS FER FOOD AND WATER.
(Parlando.)
DON'T TREAT HIM LIKE A LOUSE,
MAKE HIM WELCOME IN YER HOUSE...
CARNES.
BUT BE SHORE THAT YOU LOCK UP YER WIFE AN'
DAUGHTER!
(Laughs,jibes, protests.)
CORD ELAM. Who wants a ole farm womern anyway?
ADO ANNIE. Notice you married one, so's you c'd git a
square meal!
MAN. (To CORD ELAM.) You cain't talk that-a-way 'bout our
womern folks!
WILL. He can say whut he wants.
(He hauls offon CORD, and a.free-for-all.fight
ensues, all the MEN mixing with one another,
the WOMEN striving vainly to keep peace by
singing.)
6162
-
OKLAHOMA!
ALL (WHO ARE NOT FIGHTING).
OH, THE FARMER AND THE COWMAN SHOULD BE
FRIENDS,
THE FARMER AND THE COWMAN SHOULD BE...(FRIENDS.)
(AUNT ELLER, who has grabbed CORD~ gun
during the fight, fires it. This freezes the
picture. A still, startled CROWD stops and
looks to see who's been shot. AUNT ELLER
strides forward, separating the FIGHTERS,
pulling them away from one another, and
none too gently.)
AUNT ELLER. They ain't nobody goin' to slug out anythin' -
this here's a party!
(Pointing the gun at CARNES.)
Sing it, Andrew!
DUM TIDDY UM TUM TUM -
CARNES. (Frightened, he obeys.)
THE FARMER AND THE COWMAN SHOULD BE FRIENDS...
(AUNT ELLER points her gun at a GROUP and
conducts them. Theyjoin in quickly.)
RIGHT GROUP.
ALL.
IKE.
OH, THE FARMER AND THE COWMAN SHOULD BE
FRIENDS.
(AUNT ELLER turns her gun on the LEFT GROUP,
and now they all sing.)
ONE MAN LIKES TO PUSH A PLOUGH,
THE OTHER LIKES TO CHASE A COW,
BUT THAT'S NO REASON WHY THEY CAIN'T BE FRIENDS!
(CURLY comes down and joins AUNT ELLER
and CARNES.)
AND WHEN THIS TERRITORY IS A STATE,
AN' JINES THE UNION JIST LIKE ALL THE OTHERS,
THE FARMER AND THE COWMAN AND THE MERCHANT
MUST ALL BEHAVE THEIRSEL'S AND ACT LIKE BROTHERS.-
OKLAHOMA!
(The music becomes slower and quieter.)
AUNT ELLER.
ALL.
I'D LIKE TO TEACH YOU ALL A LITTLE SAYIN' -
AND LEARN THESE WORDS BY HEART THE WAY YOU
SHOULD:
"I DON'T SAY I'M NO BETTER THAN ANYBODY ELSE,
(Music up again. The tempo here should set
the tempo ofthe dance whichfollows.)
BUT I'LL BE DAMNED IF I AIN'T JIST AS GOOD!"
(They cheer the sentiment and repeat lustily.)
I DON'T SAY I'M NO BETTER THAN ANYBODY ELSE,
BUT I'LL BE DAMNED IF I AIN'T JIST AS GOOD!
TERRITORY FOLKS SHOULD STICK TOGETHER,
TERRITORY FOLKS SHOULD ALL BE PALS.
COWBOYS, DANCE WITH THE FARMERS' DAUGHTERS!
FARMERS, DANCE WITH THE RANCHERS' GALS!
(Now they go into a gay, unrestrained dance.)
[MUSIC NO. 20 "FARMER DANCE"]
TERRITORY FOLKS SHOULD STICK TOGETHER,
TERRITORY FOLKS SHOULD ALL BE PALS.
COWBOYS, DANCE WITH THE FARMERS' DAUGHTERS!
(Singing, with a big ritard at the end.)
FARMERS, DANCE WITH THE RANCHERS' GALS!
IKE. (After number is over.) C'mon, everybody! Time to
start the Box Social.
CORD ELAM. I'm so hungry I c'd eat a gatepost.
GIRL. Who's goin' to be the auctioneer?
MAN. Aunt Eller!
(Shouts ofapprovalfrom the entire crowd.)
AUNT ELLER. (Playing coy.) Let one of the men be the
auctioneer.
CROWD. (Ad-libs.) "No, Aunt Eller, yore the best:' '~n't any
ole men auctioneers as good as you:'
6364
,_
--
-
OKLAHOMA!
AUNT ELLER. All right then. Now you know the rules,
gentlemen. Y'got to bid blind. Y'ain't s'posed to know
whut girl goes with whut hamper. Of course, if yer
sweetheart has told you that hers'll be done up in a
certain kind of way with a certain color ribbon, that
ain't my fault. Now we'll auction all the hampers on
t'other side of the house and work around back here.
Follow me.
(She starts off,followed by the CROWD. As the
CROWD exits, ALI HAKIM strolls on, meeting
WILL ambling along with his bag.)
ALI HAKIM. Hello, young fellow.
WILL. Oh, it's you!
ALI HAKIM. I was just hoping to meet up with you. It seems
like you and me ought to have a little talk.
WILL. We only got one thing to talk about. Well, Mr. Hakim,
I hear you got yourself engaged to Ado Annie.
ALI HAKIM. Well...
WILL. Well, nuthin'. I don't know what to call you. You ain't
purty enough fer a skunk. You ain't skinny enough fer a
snake. You're too little to be a man, and too big to be a
mouse. I reckon you're a rat.
ALI HAKIM. That's logical.
WILL. Answer me one question. Do you really love her?
ALI HAKIM. Well...
WILL. Cuz if I thought you didn't I'd tie you up in this bag
and drop you in the river. Are you serious about her?
ALI HAKIM. Yes, I'm serious.
WILL. And do you worship the ground she walks on, like
I do?
(He grabs ALI at his throat, almost lifting him
offthe ground.)
And this is one answer that better be yes.
ALI HAKIM. Yes - yes - yes.
WILL. (Releasing ALI.) The hell you do!OKLAHOMA!
ALI HAKIM. Yes.
WILL. Would you spend every cent you had fer her? That's
whut I did. See that bag? Full of presents. Cost fifty
bucks. All I had in the world.
ALI HAKIM. Ifyou had that fifty dollars cash...
WILL. I'd have Ado Annie, and you'd lose her.
ALI HAKIM. (Thoughtfully.) Yes. I'd lose her. Let's see what
you got in here. Might want to buy something.
WILL. What would you want with them?
ALI HAKIM. I'm a peddler, ain't I? I buy and sell. Maybe pay
you real money...
(Significantly.) Maybe as much as - well, a lot.
(WILL becomes thoughtful. ALI.fishes in the bag
and pulls out an item.)
Ah, what a beautiful hot-water bag. Looks French.
Must have cost plenty. I'll give you eight dollars for it.
WILL. Eight dollars? That wouldn't be honest. I only paid
three-fifty.
ALI HAKIM. All right. I said I'd give you eight and I will...
(He pulls a nightgown out of the bag. It
is made of white lace and is notable for
a profusion of ribbons and bows on the
neckline.)
Say! That's a cracker-jake!
WILL. Take your hands off that!
(Grabbing it and holding it infront ofhim.)
That wuz fer our weddin' night!
ALI HAKIM. It don't fit you so good. I'll pay you twenty-two
dollars.
WILL. But that's -
ALI HAKIM. All right then - twenty-two-fifty!
(Stuffing it into his coat with the hot-water
bag.)
Not a cent more.
6566
-
OKLAHOMA!
(WILL smiles craftily and starts to count on
his.fingers. ALI now pulls out a corset.)
WILL. Them - those - that was fer her to wear.
ALI HAKIM. I didn't hardly think they was for you.
(Looking at it.)
Mighty dainty.
(Putting it aside.)
Fifteen dollars. Le's see, eight and twenty-two makes
thirty and fifteen is forty-five and fifty cents is fortyfive-fifty.
(He looks craftily at WILL out ofthe corner
of his eye and watches the idea percolate
through WILLsthick head.)
WILL. Forty-five-fifty? Say, that's almos' - that's...
(Turning a'll,[l]iously.)
Want to buy some more?
ALI HAKIM. Might.
WILL. (Taking "The Little Ulonder" out ofhis pocket.) D'you
ever see one ofthese?
ALI HAKIM. (Frightened.) What made you buy this? Got it in
for somebody?
WILL. How d'you mean? It's jist funny pitchers.
ALI HAKIM. (Examining it carefully.) That all you think it
1s. · ? UT. vve11, its . ' moren ' that.' Its ' ...
(He breaks offas LAUREY runs on, afrightened
look on herface.)
LAUREY. Whur is ev'ybody? Whur's Aunt Eller?
WILL. On t'other side ofthe house, Laurey.
JUD. (Ojfstage.) Laurey! Whur'd you run to?
(LAUREY runs offaround the end ofthe house,
putting her hamper on the porch.)
WILL. How much'll you give me fer this thing?-
OKLAHOMA!
ALI HAKIM. I don't like to handle things like this. I guess
you don't know what it really is.
WILL. Shore do. It's jist a girl in pink tights.
(JUD enters.)
JUD. Either ofyou two see Laurey?
WILL. Just went to th' other side of the house. Auction's
goin' on there.
(JUD grunts and starts upstage.)
ALI HAKIM. (Calling to him.) Hey, Jud! Here's one of them
things you was looking for. "The Little Wonder:'
(JUD comes back and examines it.)
JUD. (To WILL.) How much?
WILL. (Closing his eyes to struggle with a mathematical
problem.) Three dollars and fifty cents.
JUD. (Digging in his pocket.) Lotta money but I got an idy
it might be worth it.
(He goes upstage to look it over, then exits.)
WILL. Let's see, three-fifty from him and forty-five-fifty
from you. ½.t makes fifty dollars, don't it?
ALI HAKIM. No. One dollar short.
(He gives the bag a sly kick, so that it lands
infront ofWILL.)
WILL. Dam it. I musta figgered wrong.
(Impulsively.) How much fer all the resta the stuff in
this bag?
ALI HAKIM. (Having the cash all ready, he hands WILL the
dollar bill.) One dollar!
WILL. Done! Now I got fifty dollars, ain't I? Know whut
that means? Means I'm goin' to take Ado Annie back
from you!
ALI HAKIM. You wouldn't do a thing like that to me!
WILL. Oh, wouldn't I? And when I tell her paw who I got
mosta the money offa, mebbe he'll change his mind
'bout who's smart and who's dumb!
6768
-- -
OKLAHOMA!
ALI HAKIM. Say, young feller, you certainly bunkoed me!
(There is a hum ofvoices heardfrom offstage,
and the CROWD briskly returns for thefinal
bidding. AUNT ELLER enters, followed by the
balance of the party. One of the men sets
Laurey and Ado Annies hampers in front
ofwhere AUNT ELLER will be conducting the
auction. CURLY stands apart and pays little
attention to anybody or anything.)
AUNT ELLER. Now, here's the last two hampers. Whose they
are I ain't got no idy!
ADO ANNIE. (In a loud voice.) The littel un's mine! And the
one next to it is Laurey's!
(General laughter.)
AUNT ELLER. Well, that's the end of that secret. Now whut
am I bid fer Ado Annie's hamper?
SLIM. Two bits.
CORD ELAM. Four.
AUNT ELLER. Who says six? You, Slim?
(SLIM shakes his head.)
Ain't nobody hungry no more? - Whut about you,
Peddler-man? Six bits?
(Pause.)
ALI HAKIM. Naw!
(CARNES takes a gun from his pocket and
prods ALI in the back.)
CARNES. Come on.
ALI HAKIM. Six bits!
AUNT ELLER. Six bits ain't enough fer a lunch like Ado Annie
c'n make. Le's hear a dollar. How about you, Mike? You
won her last year.
MIKE. Yeah. That's right. Hey, Ado Annie, y' got that same
sweet-pertater pie like last year?
ADO ANNIE. You bet.- - -
.....
OKLAHOMA!
AUNT ELLER. Same old sweet-pertater pie, Mike. Whut
d'you say?
MIKE. I say it give me a three-day bellyache!
AUNT ELLER. Never mind about that. Who bids a dollar?
CARNES. (Whispering to ALI HAKIM.) Bid!
ALI HAKIM. (Whispering it back.) Mine's the last bid. I got
her fer six bits.
CARNES. Bid a dollar.
(ALI looks doubtful. CARNES prods him with
his gun.)
ALI HAKIM. Ninety cents.
AUNT ELLER. Ninety cents, we're gittin' rich. 'Nother desk fer
th' schoolhouse. Do I hear more?
WILL. (Dramatically.) You hear fifty dollars!
ALI HAKIM. (Immediately alarmed.) Hey!
AUNT ELLER. Fifty dollars! Nobody ever bid fifty dollars for a
lunch! Nobody ever bid ten.
CARNES. He ain't got fifty dollars.
WILL. Oh, yes, I have.
(Producing the money.)
And 'fyer a man ofhonor y'gotta say Ado Annie b'longs
to me, like y'said she would!
CARNES. But where's yer money?
WILL. (Shoving out his hand.) Right here in my hand.
CARNES. ~t ain't yours! Y'jist bid it, didn't you? Just give it
to th' schoolhouse.
(To ALI, chuckling back to WILL.) Got to say the pedcller
still gits my daughter's hand.
WILL. Now wait a minute. That ain't fair!
AUNT ELLER. Goin' fer fifty dollars! Goin'...
ALI HAKIM. (Gulping.) Fifty-one!
(A sensation, all turn to ALI.)
CARNES. You crazy?
WILL. (Mechanically.) Fif-
6970
-
....
OKLAHOMA!
(Prompted byfrantic signsfrom ALI, he stops
and suddenly realizes the significance ofALI~
bid.)
WILL. Wait a minute. Wait! 'F I don't bid any more I c'n
keep my money, cain't I?
AUNT ELLER. (Grinning.) Shore can.
WILL. Nen I still got fifty dollars.
(Waving it infront ofCARNES.)
This is mine!
- CARNES. (To ALI HAKIM.) You feeble-minded shike-poke!
-
AUNT ELLER. Goin', goin', gone fer fifty-one dollars and 'at
means Ado Annie'll git the prize, I guess.
WILL. And I git Ado Annie!
CARNES. (To ALI HAKIM.) And whut're you gittin' fer yer
fifty-one dollars?
ALI HAKIM. (ADO ANNIE hands him her hamper. He speaks
deadfront.) A three-day bellyache!
(ALI and ADO ANNIE leave. JUD enters up right
and stands in back ofcrowd.)
AUNT ELLER. Now here's my niece's hamper.
(General murmur ofexcitement runs through
the CROWD.)
I took a peek inside a while ago and I must say it looks
mighty tasty. Whut do I hear, gents?
SLIM. Two bits!
FRED. Four bits!
AUNT ELLER. Whut d'you say, Slim? Six?
(SLIM shakes his head.)
CARNES. I bid one dollar.
AUNT ELLER. More like it! Do I hear two?
JUD. A dollar and a quarter.
(LAUREY is startled by his voice.)
CORD ELAM. Two dollars.--
OKLAHOMA!
JOE. Two-fifty.
CARNES. Three dollars!
JUD. And two bits.
CORD ELAM. Three dollars and four bits!
JOE. Four dollars.
JUD. (Doggedly.) And two bits.
(LAUREY looks straight ahead, grimly. AUNT
ELLER catches this look and a deep worry
comes into her eyes.)
AUNT ELLER. Four and a quarter.
(Looking at CURLY, an appeal in her voice.)
Ain't I gain' to hear any more?
(CURLY turns and walks off, cool, deliberate.
LAUREY bites her lip. AUNT ELLERs voice has
panic in it.)
I got a bid of four and a quarter - from Jud Fry. You
gain' to let him have it?
CARNES. Four and a half.
AUNT ELLER. (Shouting, as ifshe were cheering.) Four and a
half! Goin' fer four and a half! Goin'...
JUD. Four seventy-five.
AUNT ELLER. (Deflated.) Four seventy-five. Come on,
gentlemen. Schoolhouse ain't built yet. Got to git a nice
chimbley.
CORD ELAM. Five dollars.
AUNT ELLER. Goin' fer five dollars! Goin'...
JUD. And two bits.
CORD ELAM. Too rich for my blood! Cain't afford no more.
AUNT ELLER. (ll'orried.) Five and a quarter! Ain't got nearly
enough yet.
(Looking at CARNES.)
Not fer cold duck with stuflin' and that lemon-meringue
pie. .
CARNES. Six dollars.
7172
-
OKLAHOMA!
AUNT ELLER. Six dollars! Goin'...
JUD. And two bits.
AUNT ELLER. My, you're stubborn, Jud. Mr. Carnes is a
richer man'n you.
(Looking at CARNES.)
And I know he likes custard with raspberry syrup.
(Pause. No one bids.)
Anybody goin' to bid any more?
JUD. No. They all dropped out. Cain't you see?
FRED. You got enough, Aunt Eller.
CARNES. Let's git on.
JUD. Here's the money.
- AUNT ELLER. (Looking off.) Hold on, you! I ain't said, "Goin',
goin: gone" yet!
.....
JUD. Well, say it!
AUNT ELLER. (Speaking slowly.) Goin' to Jud Fry fer six
dollars and two bits! Goin'...
(CURLY enters, a saddle over his arm.)
CURLY. Who'd you say was gittin' Laurey?
AUNT ELLER. Jud Fry.
CURLY. And fer how much?
AUNT ELLER. Six and a quarter.
CURLY. I don't figger 'at's quite enough, do you?
JUD. It's more'n you got.
CURLY. Got a saddle here cost me thirty dollars.
JUD. Yo' cain't bid saddles. Got to be cash.
CURLY. (Looking around.) Thirty-dollar saddle must be
worth sumpin to somebody.
JOE. I'll give you ten.
SKIDMORE. (To CURLY.) Don't be a fool, boy. Y'cain't earn a
livin' 'thout a saddle.
CURLY. (To JOE.) Got cash?
JOE. Right in my pocket.-
,....,
OKLAHOMA!
(CURLY ~ves him the saddle.)
CURLY. (Turning to JUD.) Don't let's waste time. How high
you goin'?
JUD. Higher'n you - no matter whut!
CURLY. (To AUNT ELLER.) Aunt Eller, I'm biddin' all of this
ten dollars Joe jist give me.
AUNT ELLER. Ten dollars - goin'...
(Pause. General murmur ofexcited comments.
LAUREY's eyes are shining now and her
shoulders are straighter.)
JUD. (Determinedly.) Ten dollars and two bits.
AUNT ELLER. Curly...
(Pause. CURLY turns to a group ofMEN.)
CURLY. Most ofyou boys know my horse, Dun. She's a -
(He swallows hard.)
- a kinda nice horse - gentle and well broke.
LAUREY. Don't sell Dun, Curly, it ain't worth it.
CORD ELAM. I'll give you twenty-five fer her!
CURLY. (To CORD ELAM.) I'll sell Dun to you.
(To AUNT ELLER.) That makes the bid thirty-five, Aunt
Eller.
AUNT ELLER. (Tickled to death.) Curly, yer crazy! But it's
all fer the schoolhouse, ain't it? All fer educatin' and
larnin'. Goin' fer thirty-five. Goin' -
JUD. Hold on! I ain't finished biddin'!
(He grins.fiercely at CURLY.)
Youjist put up everythin' y'got in the world, didn't yer?
Cain't bid your clothes, cuz they ain't worth nuthin'.
Cain't bid yer gun cuz you need that. ·
(Slowly.)
Yes, sir. You need that bad.
(Looking at AUNT ELLER.)
7374
.....
OKLAHOMA!
JUD. So, Aunt Eller, I'm jist as reckless as Curly McLain, I
guess. Just as good at gittin' whut I want. Goin' to bid
all I got in the world - all I saved fer two years, doin'
farm work. All fer Laurey. Here it is! Forty-two dollars
and thirty-one cents.
(He pours the money out ofa pouch he has
takenfrom his pocket onto Laurey's hamper.
CURLY takes out his gun. The crowd gasps.
JUD backs away.)
CURLY. Anybody want to buy a gun? You, Joe? Bought it
brand new last Thanksgivin'. Worth a lot.
LAUREY. Curly, please don't sell your gun.
(CURLY looks at SLIM.)
SLIM. Give you eighteen dollars fer it.
CURLY. Sold.
(They settle the deal. CURLY turns to AUNT
ELLER.)
That makes my bid fifty-three dollars, Aunt Eller.
(Significantly.) Anybody going any higher?
AUNT ELLER. (very quickly.) Goin' - goin' - gone! Whut's
the matter with you folks? Ain't nobody gonna cheer
er nuthin'?
(Uncertainly, they start to sing "The Farmer
and the Cowman" a cappella. JUD picks up
his money. CURLY and LAUREY carry their
basket downstage and awayfrom the crowd.
JUD moves slowly toward CURLY. CURLY sets
the basket down andfaces him. The singing
stops.)
SKIDMORE. (In his deep, booming voice.) That's the idy! The
cowman and the farmer shud be friends.
(His hand on JUD's shoulder.)
You lost the bid, but the biddin' was fair.
(To CURLY.) C'mon, cowman - shake the farmer's hand!OKLAHOMA!
(CURLY doesn't move a muscle.)
JUD. Shore, I'll shake hands. No hard feelin's, Curly.
(He goes to CURLY, his hand outstretched. After
a pause, CURLY takes his hand, but never lets
his eyes leave JUDs.)
SKIDMORE. That's better.
(ALI has come downstage and is watching JUD
narrowly.)
JUD. (With a badly assumed manner ofcamaraderie.) Say,
Curly, I want to show you sumpin.
(He grins.)
'Scuseus, Laurey.
(Taking CURLYs arm, he leads him aside.)
Ever see one ofthese things?
(He takes out "The Little Wonder." ALI is in a
panic.)
CURLY. Just whut is that?
(ALI rushes to AUNT ELLER and starts to whisper
in her ear.)
JUD. Something special. You jist put this up to yer eye like
th1s, . see.?
(CURLY is about to look when AUNT ELLERS
voice rings out, sharp and shrill.)
AUNT ELLER. Curly! Curly, whut you doin'?
(CURLY turns quickly. So does JUD, giving an
involuntary grunt ofdisappointment.)
CURLY. Doin'? Nuthin' much. Whut you want to squeal at
a man like 'at fer? Skeer the liver and lights out of a
feller.
AUNT ELLER. Well then, stop lookin' at those ole French
pitchers and ast me fer a dance. You brung me to the
party, didn't you?
7576
-
OKLAHOMA!
CURLY. All right then, you silly ole woman, I'll dance 'th
you. Dance you all over the meadow, you want!
AUNT ELLER. Pick 'at banjo to pieces, Sam!
[MUSIC NO. 21 "CHANGE OF SCENE"]
(And the dance is on. Everyone is dancing
now. WILL takes ADO ANNIE by the waist and
swings her around. JUD,finally realizing the
chance to use "The Little Wonder" is gone,
angrily slips it back into his pocket, then goes
up to LAUREY, who has started to dance with
ALI. JUD pushes ALI away and dances LAUREY
off. ALI and the remaining COMPANY drift
off, leaving WILL and ADO ANNIE alone. WILL
wants to settle things.)
WILL. Well, Ado Annie, I got the fifty dollars cash, now you
name the day.
ADO ANNIE. August fifteenth.
WILL. Why August fifteenth?
ADO ANNIE. (Reminiscing.) That was the first day I was
kissed.
WILL. (His face lighting up.) Was it? I didn't remember
that.
ADO ANNIE. You wasn't there.
WILL. Now looka here, we gotta have a serious talk. Now
- that you're engaged to me, you gotta stop havin' fun!
...I mean with other fellers.
[MUSIC NO. 22 •~LL ER NUTHIN"']
(Half-sung.)
YOU'LL HAVE TO BE A LITTLE MORE STAND-OFFISH
(Sings.)
WHEN FELLERS OFFER YOU A BUGGY RIDE.
ADO ANNIE.
I'LL GIVE A IMITATION OF A CRAWFISH
AND DIG MYSELF A HOLE WHERE I C'N HIDE.OKLAHOMA!
WILL.
I REARED HOW YOU WAS KICKIN' UP SOME CAPERS
WHEN I WAS OFF IN KANSAS CI1Y, MO.
(More sternly.)
I REARED SOME THINGS YOU COULDN'T PRINT IN PAPERS
FROM FELLERS WHO BEENTALKIN' LIKE THEY KNOW!
ADO ANNIE.
(Spoken.) FOOT!
I ONLY DID THE KIND OF THINGS I ORTA - SORTA
TO YOU I WAS AS FAITHFUL AS C'N BE - FER ME.
THEM STORIES 'BOUT THE WAY I LOST MY BLOOMERS -
RUMORS!
A LOT O' TEMPEST IN A POT O' TEA!
WILL.
THE WHOLE THING DON'T SOUND VERY GOOD TO ME -
ADO ANNIE. (Spoken.)
WELL, Y'SEE -
WILL. (Breaking in and spurting out his pent-up resentment
at a great injustice.)
(Parlando.)
I GO AND SOW MY LAST WILD OAT!
I CUT OUT ALL SHENANIGANS!
I SAVE MY MONEY - DON'T GAMBLE ER DRINK
IN THE BACK ROOM DOWN AT FLANNIGAN'S!
I GIVE UP LOTSA OTHER THINGS
A GENTLEMAN NEVER MENTIONS -
BUT BEFORE I GIVE UP ANY MORE,
I WANTA KNOW YOUR INTENTIONS!
(Sung.)
WITH ME IT'S ALL ER NUTHIN'!
IS IT ALL ER NUTHIN' WITH YOU?
IT CAIN'T BE "IN BE1WEEN"
IT CAIN'T BE "NOW AND THEN"
NO HALF-AND-HALF ROMANCE WILL DO!
I'M AONE-WOMAN MAN,
HOME-LOVIN' TYPE,
7778
-
OKLAHOMA!
ALL COMPLETE WITH SLIPPERS AND PIPE.
TAKE ME LIKE I AM ER LEAVE ME BE!
IF YOU CAIN'T GIVE ME ALL, GIVE ME NUTHIN' -
AND NUTHIN'S WHUT YOU'LL GIT FROM ME!
(He struts awayfrom ADO ANNIE.)
ADO ANNIE.
NOT EVEN SUMP'N?
WILL.
NUTHIN'S WHUT YOU'LL GIT FROM ME!
(The second refrain begins. He starts to walk
away, nonchalantly. ADO ANNIEfollows him.)
ADO ANNIE.
IT CAIN'T BE "IN BETWEEN"?
WILL. (Spoken.)
UH-UH.
ADO ANNIE.
IT CAIN'T BE "NOW AND THEN"?
WILL.
NO HALF-AND-HALF ROMANCE WILL DO!
ADO ANNIE.
WOULD YOU BUILD ME A HOUSE,
ALL PAINTED WHITE,
CUTE AND CLEAN AND PUR1Y AND BRIGHT?
WILL.
BIG ENOUGH FER 1WO BUT NOT FER THREE!
ADO ANNIE.
SUPPOSIN' 1\T WE SHOULD HAVE ATHIRD ONE?
WILL. (Barking at her.)
HE BETTER LOOK A LOT LIKE ME!
ADO ANNIE. (Sheered.)
THE SPIT AN' IMAGE!
WILL.
HE BETTER LOOK A LOT LIKE ME!
(Two GIRLS come on and do a dance with
WILL in which they lure him awayfrom ADO-
OKLAHOMA!
ANNIE. ADO ANNIE, trying to get him back,
does a Persian dance. WILL, accusing her,
says: "That's Persian!" and returns to the
GIRLS. But ADO ANNIE yanks him back. The
GIRLS dance off. ADO ANNIE sings.)
ADO ANNIE.
WITH YOU IT'S ALL ER NlITHIN' -
ALL FER YOU AND NlITHIN' FER ME!
BUT IF AWIFE IS WISE
SHE'S GOTTA REALIZE
THAT MEN LIKE YOU ARE WILD AND FREE.
(WILL looks pleased.)
SO I AIN'T GONNA FUSS,
AIN'T GONNA FROWN,
HAVE YOUR FUN, GO OUT ON THE TOWN,
STAY UP LATE AND DON'T COME HOME TILL THREE,
AND GO RIGHT OFF TO SLEEP IF YOU'RE SLEEPY -
THERE'S NO USE WAITIN' UP FER ME!
WILL.
OH,ADOANNIE!
ADO ANNIE.
NO USE WAITIN' UP FER ME!
WILL.
COME ON AND KISS ME.
(ADO ANNIE happily returns to WILL. They kiss
and dance off.)
(Blackout.)
[MUSIC NO. 23 "CHANGE OF SCENE"]
7980 OKLAHOMA!
Scene Two.
The Kitchen Porch of Skidmore's Ranch House
(The kitchen porch ofSkidmore's ranch house.
There are a few benches on the porch and a
large coal stove. At Rise: The music for the
dance can still be heard offstage. Immediately
after the curtain rises, JUD dances on with
LAUREY, then stops and holds her. She pulls
awayfrom him.)
LAUREY. Why we stoppin'? Thought you wanted to dance.
JUD. Want to talk to you. What made ya slap that whip
onto Old Eighty, and nearly make her run away? Whut
was yer hurry?
LAUREY. 'Fraid we'd be late fer the party.
JUD. You didn't want to be with me by yerself- not a minnit
more'n ya had to.
...... LAUREY. Why, I don't know whut you're talking about! I'm
with you by myself now, ain't I?
JUD. You wouldn'ta been, ifya coulda got out ofit. Mornin's
you stay hid in yer room all the time. Nights you set in
the front room, and won't git outa Aunt Eller's sight...
Last time I see ya alone it was winter, with the snow six
inches deep in drifts when I was sick. Ya brung me that
hot soup out to the smoke house and give it to me, and
me in bed. I hadn't shaved in two days. You ast me 'f
I had any fever and ya put yer hand on my head to see.
LAUREY. (Puzzled andfrightened.) I remember...
JUD. Do ya? Bet ya don't remember as much as me.
I remember eve'ything ya ever done...every word ya
ever said. Cain't think of nuthin' else... See? ...See how
it is.
(He attempts to hold LAUREY. She pushes him
away.)
I ain't good enough, am I? I'm a h'ard hand, got dirt
on my hands, pigslop. Ain't fitten to tetch ya. You're-
....,
OKLAHOMA!
better, so much better. Yeah, we'll see who's better -
Miss Laurey. Nen you'll wisht you wasn't so free with
yer airs, yer sich a fine lady...
LAUREY. (Suddenly angry and losing her fear.) Air you
making threats to me? Air you standing there tryin'
to tell me 'f I don't 'low you to slobber over me like a
hog, why, you're gonna do sumpin 'bout it? Why you're
nuthin' but a mangy dog and somebody orta shoot you.
You think so much about being a h'ard hand. Well, I'll
just tell you sumpin that'll rest your brain, Mr. Jud.
You ain't a h'ard hand fer me no more. You c'n just
pack up yer duds and scoot. Oh, and I even got better
idys'n that. You ain't to come on the place again, you
hear me? I'll send yer stuff any place you say, but don't
you's much's set foot inside the pasture gate or I'll sic
the dogs onto you!
JUD. (Standing quite still, absorbed, dark, his voice low.)
Said yer say! Brought it on yerself. (In a voice harsh
with an innerfrenzy.) Cain't he'p it. Cain't never rest.
Told ya the way it was. You wouldn't listen -
(He goes out, passes the corner ofthe house,
and disappears. LAUREY stands a moment,
held by his strangeness, then she starts toward
the house, changes her mind, and sinks onto
a bench, afrightened little gjrl again. There is
a noise offetage. LAUREY turns, startled.)
LAUREY. Who's 'at?
WILL. (Entering.) It's me, Laurey. Hey, have you seen Ado
Annie? She's gone agjn.
(LAUREY shakes her head.)
LAUREY. (Calling to him as he is on his way out.) Will! ...
Will, could you do sumpin fer me? Go and find Curly
and tell him I'm here.
(CURLY enters.)
I wanta see Curly awful bad. Got to see him.
8182
.....
....
.....
--
OKLAHOMA!
CURLY. Then whyn't you turn around and look, you crazy
womern?
LAUREY. (With great relief) Curly!
WILL. Well, you found yours. I gotta go hunt fer mine.
(He exits.)
CURLY. Now whut on earth is ailin' the belle of Claremore?
By gum, ifyou ain't cryin'!
LAUREY. (Leaning against him.) Curly - I'm afraid, 'fraid
ofmy life!
CURLY. (In a flurry of surprise and delight.) Jumpin'
toadstools!
(He puts his arms around LAUREY, muttering
under his breath.)
Great Lord!
LAUREY. Don't you leave me -
CURLY. Great Godamighty!
LAUREY. Don't mind me a-cryin', I cain't he'p it...
CURLY. Cryyer eyes out!
LAUREY. Oh, I don't know whut to do!
CURLY. Here. I'll show you.
(He lifts LAUREY~face and kisses her gently.
The kiss leaves her breathless. She steps back
in a state of wonder. Then suddenly she
grabs him around the neck and kisses him
enthusiastically. He responds, but overcome
with a sense ofresponsibility, he pulls her
handsfrom around his neck and steps back.)
My goodness!
(He shakes his head as ifcoming out ofa daze
and gi,ves a low whistle.)
Whew! 'Bout all a man c'n stand in public!
(LAUREY lungesfor him again.)
Go 'way from me, you!
LAUREY. You don't like me, Curly....,
OKLAHOMA!
CURLY. Like you? My God! Git away from me, I tell you,
plumb away from me!
(He backs away and sits on the stove.)
LAUREY. Curly! You're settin' on the stove!
CURLY. (Leaping up.) Godamighty!
(He turns around, puts his hand down
gingerly on the lid.)
Aw! 'S cold's a hunk ofice!
LAUREY. Wish't ud burnt a hole in yer pants.
CURLY. (Grinning at her, understandingly.) Oh, ya do, do
ya?
LAUREY. (Turning away to hide her smile.) You heared me.
CURLY. Laurey, now looky here, you stand over there right
whur you air, and I'll set over here - and you tell me
whut you wanted with me.
LAUREY. (Grave again.) Well - Jud was here.
(She shudders.)
He skeered me...he's crazy. I never saw nobody like
him. He talked wild and he threatened me. So I - I
f'ard him! I wish't I hadn'ta! They ain't no tellin' whut
he'll do now!
CURLY. You f'ard him! Well then! That's all they is to it!
Tomorrow, I'll get you a new h'ard hand. I'll stay on
the place myself tonight, 'f you're nervous about that
hound-dog. Now quit yer worryin' about it, er I'll spank
ya.
(His manner changes. He becomes shy. He
turns away, unable to meet LAUREYs eyes as
he asks the question.)
Hey, while I think ofit - how- how 'bout marryin' me?
(LAUREY, confused, turns away, too. They are
back to back.)
LAUREY. Gracious, whut'd I wanta marry you fer?
CURLY. Well, couldn't you meybbe think of some reason
why you might?
8384
.....
~
OKLAHOMA!
LAUREY. (Crosses left.) I cain't think of nuthin' right now,
hardly.
CURLY. (Following her.) Laurey, please, ma'am - marry me.
I - don't know whut I'm gonna do ifyou - ifyou don't.
LAUREY. (Touched.) Curly - why, I'll marry you - 'f you
want me to...
(They kiss.)
CURLY. I'll be the happiest man alive soon as we're married.
Oh, I got to learn to be a farmer, I see that! Quit
a-thinkin' about throwin' a rope, and start in to git
my hands blistered a new way! Oh, things is changin'
right and left! Buy up mowin' machines, cut down the
prairies! Shoe yer horses, drag them plows under the
sod! They're gonna make a state outa this territory, they
gonna put it in the Union! Country's a-changin', got
to change with it! Bring up a pair of boys, new stock,
to keep up 'th the way way things is goin' in this here
crazy country! Now I got you to he'p me - I'll 'mount
to sumpin yit! Oh, I 'member the first time I ever seen
you. It was at the fair. You was a-ridin' that gray filly
of Blue Starr's, and I says to someone - "Who's that
skinny little thing with a bang hanging down on her
forehead?"
LAUREY. Yeow, I 'member. You was riding broncs that day.
CURLY. That's right.
LAUREY. And one of 'em th'owed you.
CURLY. That's - did not th'ow me!
LAUREY. Guess you jumped off, then.
CURLY. Shore I jumped off.
LAUREY. Yeow, you shore did.
(CURLY kisses her.)
[MUSIC NO. 24 "PEOPLE WILL SAY WE'RE
IN LOVE (REPRISE)"]
CURLY. (Speaking over music.) Hey! 'F there's anybody out
around this yard 'at c'n hear my voice, I'd like fer you to
know that Laurey Williams is my girl.....
.....
-
OKLAHOMA!
LAUREY. Curly!
CURLY. And she's went and got me to ast her to marry me!
LAUREY. They'll hear you all the way to Catoosie!
CURLY. Let 'em!
LET PEOPLE SAY WE'RE IN LOVE!
WHO KEERS WHUT HAPPENS NOW!
LAUREY.
JIST KEEP YOUR HAND IN MINE.
YOUR HAND FEELS SO GRAND IN MINE -
CURLY & LAUREY.
LET PEOPLE SAY WE'RE IN LOVE!
STARLIGHT LOOKS WELL ON US,
LET THE STARS BEAM FROM ABOVE,
WHO CARES IF THEY TELL ON US?
LET PEOPLE SAY WE'RE IN LOVE!
(Lightsfade to black.)
[MUSIC NO. 25 "CHANGE OF SCENE
(OPTIONAL)"]
(ALI HAKIM enters with ADO ANNIE.)
ALI HAKIM. I'll say good-bye here, baby.
ADO ANNIE. Cain't y'even stay to drink to Curly and Laurey?
ALI HAKIM. (Shaking his head.) Time for the lonely gypsy to
go back to the open road.
ADO ANNIE. Wisht I was goin' - nen you wouldn't be so
lonely.
ALI HAKIM. Look, Ado Annie, there is a man I know who
loves you like nothing ever loved nobody.
ADO ANNIE.Ali!
ALI HAKIM. A man who will stick to you all your life. And
that's the man for you - Will Parker.
ADO ANNIE. (Recoveringfrom surprise.) Oh....yeah...well,
I like Will a lot.
ALI HAKIM. He is a fine fellow. Strong like an ox. Young and
handsome.
ADO ANNIE. I love him, all right, I guess.
8586
,....,
OKLAHOMA!
ALI HAKIM. Of course you do! And you love those clear blue
eyes of his, and the way his mouth wrinkles up when
he smiles -
ADO ANNIE. Do you love him too?
ALI HAKIM. I love him because he will make my Ado Annie
happy.
(He kisses ADO ANNIEs hand.)
Good-bye, my baby.
(He starts to leave toward stage left, then
turns.)
I will show you how we say good-bye in Persia.
(He takes her hand, extending her arm palm
up, pushes back her sleeve, and kisses her
upturned wrist. He progresses up her arm,
accelerating his kisses. He continues kissing
her neck as he crosses behind her. He then
twirls her around into a low embrace with her
head stage left and plants a kiss on her lips.
He then sets her on herfeet in her original
position.)
ADO ANNIE. (Wistfully as he releases her.) That was goodbye?
ALI HAKIM. We have an old song in Persia. It says
"ONE GOODBYE...
. h"
...1s never enoug .
(He twirls her and gives her a long kiss. WILL
entersfrom left and stands still and stunned.
He slowly awakes to action and starts
moving toward them, but then ALI starts to
talk and WILL stops again, surprised even
more by what he hears than by what he saw.)
I am glad you will marry such a wonderful man as this
Will Parker. You deserve a fine man and you got one.
(WILL is about to grab ALI by the scruffofthe
neck.)OKLAHOMA!
ADO ANNIE. (Still in ALI'S embrace, she looks up and sees
WILL above her.) Hello, Will. Ali is sayin' good-bye.
ALI HAKIM. (Immediately setting ADO ANNIE back on her
feet.) Ah, Will! I want to say good-bye to you, too.
(Starting to embrace him.)
WILL. No, you don't. I just saw the last one.
ALI HAKIM. (Patting WILL on the cheek.) Ah, you were made
for each other!
(He pulls ADO ANNIE close to him with one
arm and puts the other hand affectionately
on WILLsshoulder.)
Be good to her, Will.
(Giving ADO ANNIE a squeeze.)
And you be good to him!
(Smiling disarmingly at WILL.)
You don't mind? I am a friend ofthe family now?
(He gives ADO ANNIE a little kiss on the cheek.)
WILL. Did you say you was goin'?
ALI HAKIM. Yes. I must. Back to the open road. A poor gypsy.
Good-bye, my baby -
(Smiling back at WILL before he kisses ADO
ANNIE, pointing to himself.)
Friend ofthe family.
(Pushing WILL aside.)
I'll show you how we say good-bye in my country.
(ADO ANNIE prepares for another Persian
good-bye. ALI moves toward her, but WILL
grabs him by the back ofhis collar. ALI smiles
ingratiatingly.)
Persian good-bye.
(WILL tosses ALI stage left, awayfrom ANNIE.)
Lucky fellow! I wish it was me she was marrying
instead ofyou.
8788 OKLAHOMA!
WILL. It don't seem to make an awful lot of difference.
ALI. Well, back on the open road, the lonely gypsy.
(He sings a snatch ofthe Persian song as he
exits, improvising on the words, "Oh, the
open road!" As he disappears, ADO ANNIE
runs after him, waving good-bye.)
WILL. You ain't goin' to think of that ole peddler anymore,
air you?
ADO ANNIE. Course not. Never think of no one less'n he's
with me.
WILL. Then I'm never goin' to leave yer side.
ADO ANNIE. Even ifyou don't, even ifyou never go away on
a trip er nuthin: cain't you - onct in a while - give me
one ofthem Persian good-byes?
WILL. Persian good-bye? Why that ain't nuthin' like a
Oklahoma hello!
(He places her hands so that she is holding on
to his neck, grabs her by the waist, and slides
her legs between his, giving her a long kiss.
4fter the kiss, she looks up at him, supreme
contentment in her voice.)
ADO ANNIE. Hello, Will!
(Blackout.)
[MUSIC NO. 26 "CHANGE OF SCENE"]......
......
-
OKLAHOMA!
Scene Three
The Back of Laurey's Farmhouse
(The back of Laurey's farmhouse. Shouts,
cheers, and laughter are heard behind the
curtain, continuing as it rises. At Rise:
CARNES and IKE walking down centerfrom
up right. CARNES carries a lantern.)
IKE. Well, Andrew, why ain't you back of the barn gettin'
drunk with us? Never see you stay so sober at a weddin'
party.
CARNES. Been skeered all night. Skeered 'at Jud Fry ud
come up and start for Curly.
IKE. Why, Jud Fry's been out of the territory for three
weeks.
CARNES. He's back. See him at Claremore last night, drunk
as a lord!
(Immediately a loud whoop is heard, and the
crowd starts to pour in. IKE and CARNES move
down left continuing their conversation but
are drowned out by the shouts and laughter
ofthe CROWD as theyfill the stage. LAUREY,
wearing her mother's wedding dress, enters
from the house along with CURLY and AUNT
ELLER.)
SLIM. Let's have three cheers for the happy couple. Hiphip -
CROWD. Hooray!
SLIM. Hip-hip -
CROWD. Hooray!
SLIM. Hip-hip -
CROWD. Hooray!
(As LAUREY prepares to throw her bouquet, the
GIRLS leave their respective beaus and rush
toward the porch to catch it. LAUREY throws
8990 OKLAHOMA!
the bouquet, and one ofthe GIRLS catches it,
after which they return to their beaus.)
IKE. Say Curly, wuz you skeered when the preacher said
that about do you take this 'ere womern?
CURLY. I wuz skeered he wouldn't say it.
[MUSIC NO. 27 "OKLAHOMA"]
LAUREY. I wuz afraid Curly'd back out on me.
AUNT ELLER.
THEY COULDN'T PICK A BETTER TIME TO START IN LIFE!
IKE.
IT AIN'T TOO EARLY AND IT AIN'T TOO LATE.
LAUREY.
STARTIN' AS A FARMER WITH A BRAND NEW WIFE -
CURLY.
ALL.
SOON BE LIVIN' IN A BRAND NEW STATE!
BRAND NEW STATE
GONNA TREAT YOU GREAT!
FRED.
GONNA GIVE YOU BARLEY, CARROTS AND PERTATERS -
CORD ELAM. (Parlando.)
PASTURE FOR THE CATTLE -
CARNES. (Parlando.)
SPINACH AND TERMAYTERS!
AUNT ELLER.
IKE.
FLOWERS ON THE PRAIRIE WHERE THE JUNE BUGS
ZOOMPLEN'Y OF AIR AND PLEN'Y OF ROOM -
FRED.
PLEN'Y OF ROOM TO SWING A ROPE!
AUNT ELLER.
PLEN'Y OF HEART AND PLEN'Y OF HOPE...
CURLY.
OKLAHOMA,.....
ALL.
OKLAHOMA!
WHERE THE WIND COMES SWEEPIN' DOWN THE PLAIN,
AND THE WAVIN' WHEAT
CAN SURE SMELL SWEET
WHEN THE WIND COMES RIGHT BEHIND THE RAIN.
OKLAHOMA,
EV'RY NIGHT MY HONEY LAMB AND I
SIT ALONE AND TALK
AND WATCH A HAWK
MAKIN' LAZY CIRCLES IN THE SKY.
WE KNOW WE BELONG TO THE LAND,
AND THE LAND WE BELONG TO IS GRAND!
AND WHEN WE SAY:
YEOW! A-YIP-I-O-EE-AY!
CURLY.
ALL.
WE'RE ONLY SAYIN~
"YOU'RE DOIN' FINE, OKLAHOMA!
OKLAHOMA, O.K.!"
(The FULL COMPANY now joins in a refrain
immediatelyfollowing this one, singing with
infectious enthusiasm. A special and stirring
vocal arrangement.)
OKLAHOMA,
WHERE THE WIND COMES SWEEPIN' DOWN THE PLAIN,
(OKLAHOMA!)
AND THE WAVIN' WHEAT
CAN SURE SMELL SWEET
WHEN THE WIND COMES RIGHT BEHIND THE RAIN.
OKLAHOMA,
EV'RY NIGHT MY HONEY LAMB AND I
(EV'RY NIGHT WE)
SIT ALONE AND TALK
AND WATCH A HAWK
MAKIN' LAZY CIRCLES IN THE SKY.
WE KNOW WE BELONG TO THE LAND,
9192
--
-
OKLAHOMA!
(YOHO!)
AND THE LAND WE BELONG TO IS GRAND!
YIPPYYI!
YIPPYYI!
YIPPYYI!
YIPPYYI!
YIPPYYI!
YIPPYYI!
AND WHEN WE SAY:
YEOW! A-YIP-I-0-EE-AY!
WE'RE ONLY SAYIN',
"YOU'RE DOIN' FINE, OKLAHOMA!
OKLAHOMA,
(YOU'RE)
O.K.!"
OKLAHOMA!
OKLAHOMA!
OKLAHOMA!
OKLAHOMA!
OKLAHOMA!
OKLA-
(The "Oklahomas" continue as the rest sing.)
WE KNOW WE BELONG TO THE LAND,
AND THE LAND WE BELONG TO IS GRAND!
AND WHEN WE SAY:
YEOW! A-YIP-I-0-EE-AY!
WE'RE ONLY SAYIN',
"YOU'RE DOIN' FINE, OKLAHOMA!
OKLAHOMA, 0. K. L. A. H. 0. M. A!"
OKLAHOMA!
(Shouted.)
YEOW!OKLAHOMA! 93
--
[MUSIC NO. 28 "OKLAHOMA (ENCORE)"]
OKLAHOMA,
WHERE THE WIND COMES SWEEPIN' DOWN THE PLAIN,
(OKLAHOMA!)
WHERE THE WAVIN' WHEAT
CAN SURE SMELL SWEET
WHEN THE WIND COMES RIGHT BEHIND THE RAIN.
OKLAHOMA,
EV'RY NIGHT MY HONEY LAMB AND I
(EV'RY NIGHT WE)
SIT ALONE AND TALK
AND WATCH A HAWK
MAKIN' LAZY CIRCLES IN THE SKY.
OKLAHOMA!
OKLAHOMA!
OKLAHOMA!
.._.. OKLAHOMA!
.... OKLAHOMA!
.... OKLA-
(The "Oklahomas" continue as the rest sing.)
WE KNOW WE BELONG TO THE LAND,
AND THE LAND WE BELONG TO IS GRAND!
AND WHEN WE SAY:
YEOW! A-YIP-I-0-EE-AY!
WE'RE ONLY SAYIN:
"YOU'RE DOIN' FINE, OKLAHOMA!
OKLAHOMA, 0. K. L. A. H. 0. M. A!"
,..., OKLAHOMA!
(Shouted.)
,....,
YEOW!
(After number.)94
.....
OKLAHOMA!
CURLY. Hey! Y'better hurry into that other dress! Gotta git
goin' in a minnit!
(LAUREY exits into the house.)
AUNT ELLER. You hurry and pack yer own duds! They're
layin' all over my room.
(Shefollows LAUREY into the house.)
CURLY. Hey, Will! Would you hitch the team to the surrey
fer me?
WILL. Shore will! Have it up in a jiffy!
(He runs off. CURLY exits into the house. CORD
ELAM runs over to the door. The manner of
the group of MEN that surrounds the door
becomes mysterious. Their voices are low
and their talk is punctuated with winks and
nudges.)
IKE. (To CORD.) He's gone upstairs.
CORD ELAM. Yeah.
(CORD ELAM and the MENjoin IKE by the door,
and then all get into a huddle. The GIRLS
cross to the MEN but are shooed away. The
MEN whisper and slip quietly off, exceptfor
CARNES. The GIRLS break toward CARNES as
ADO ANNIE crosses to him.)
ADO ANNIE. Whut you goin' to do, Paw? Give Laurey and
Curly a shivoree? I wisht you wouldn't.
CARNES. Aw, it's a good old-fashioned custom. Never hurt
anybody. You womenjist keep outa the way. Vamoose!
(The GIRLS all talk at once.)
Stop gabbin' about it!
(He exits up right, leaving only WOMEN on
the stage.)
ADO ANNIE. Seems like they's times when men ain't got no
need for womern.OKLAHOMA!
SECOND GIRL. Well, they's times when womern ain't got no
need for men.
ADO ANNIE. Yeow, but who wants to be dead?
(GERTIE's well-known laugh is heard, off
right.)
ELLEN. Gertie!
(GERTIE enters.)
ADO ANNIE. Thought you was in Bushyhead.
GERTIE. (Smugly.) Just come from there.
ELLEN. Too bad you missed Laurey's wedding.
GERTIE. Been havin' one of my own.
ELLEN. Lands! Who'd you marry? Where is he?
ADO ANNIE. (Looking off.) Is that him?
GERTIE. (Triumphantly.) That's him!
(All look offright. ALI HAKIM enters, dejected,
sheepish, dispirited, a ghost of the man he
was.)
ADO ANNIE. Ali Hakim!
GERTIE. Did you see my ring, girls?
(The GIRLS surround GERTIE to admire and
exclaim. ALI and ADO ANNIE are left apart
from the group.)
ADO ANNIE. How long you been married?
ALI HAKIM. Four days.
(GERTIE~ laugh is heardfrom the group. ALI
winces.)
Four days with that laugh should count like a golden
wedding.
ADO ANNIE. But ifyou married her, you musta wanted to.
ALI HAKIM. Sure I wanted to. I wanted to marry her when I
saw the moonlight shining on the barrel of her father's
shotgun! I thought it would be better to be alive.
(A short laughfrom GERTIE.)
9596 OKLAHOMA!
ALI HAKIM. Now, I ain't so sure.
GERTIE. (Coming out ofgroup.) Ali ain't goin' to travel
around the country no more. I decided he orta settle
down in Bushyhead and run Papa's store.
(WILL entersfrom left.)
ADO ANNIE. Hey! Will! D'you hear the news? Gertie
married the peddler.
WILL. (To ALI.) Mightly glad to hear that, peddler-man.
(Turning to GERTIE and getting an idea.)
I think I orta kiss the bride.
(He goes toward GERTIE, then looks back at
ALI.)
Friend of the fambly...remember? Hey, Gertie, have
you ever had an Oklahoma hello?
(He starts to give her an "Oklahoma hello."
ADO ANNIE rushes in and pushes WILL across
to the side. She then turns back and takes a
swing at GERTIE, who ducks under her arm.
GERTIE grabs her around the waist, but ADO
ANNIE gets hold ofGERTIEs hair and swings
her round. GERTIE pulls ADO ANNIE's skirt
up over her head and begins to flee offleft
with the other GIRLS screaming. ADO ANNIE
scrambles to right herself, then chases after
GERTIE. WILL is about to follow when he is
called back by ALI.)
ALI HAKIM. Hey! Where you goin'?
WILL. I'm goin' to stop Ado Annie from killin' yer wife.
ALI HAKIM. (Grabbing Wills arm.) Mind yer own business!
(He leads WILL off. The stage is empty and
quiet. A MAN sneaks on, then another, then
more. Cautiously, afew advance on the house
while others spread across the stage, huddling
in groups. One ofthe more agUe climbs up a
trellis and looks in the window ofthe secondOKLAHOMA!
floor. He suppresses a laugh, leans down, and
reports to the others. There are suppressed
giggles and snorts. He takes another peek,
then comes down and whispers to them. The
joke is passedfrom one group to the other;
they are doubled up with laughter. Then, at a
signalfrom one, they all start to pound on tin
pans with spoons and set up a terrific din.)
AUNT ELLER. (Coming to the window with a lamp in her
hand.) Whut you doin' down there, makin' all thet
racket, you bunch o' pig-stealers?
FRED. (Shouting up.) Come on down peaceable, Laurey,
sugar!
IKE. And you too, you curly-headed cowboy.
CORD ELAM. With the dimple on yer chin!
IKE. Come on, fellers, let's git 'em down!
(Three ofthe MEN run into the house. Those
outside toss up straw dolls.)
MEN. Hey, Laurey! Here's a girl baby fer you! And here's a
baby boy! Here's twins!
(CURLY is pulledfrom the house and hoisted
on the shoulders ofhisfriends. LAUREY and
AUNT ELLER come out ofthe house. All are in
high spirits. It is a good-natured hazing. Now
JUD enters up left. Everyone becomes quiet
and still, sensing trouble.)
JUD. Weddin' party still goin' on? Glad I ain't too late. Got a
present fer the groom. But first I want to kiss the bride.
(He startsfor LAUREY. CURLY pulls him back.)
An' here's my present fer you!
(He socks CURLY. The fight starts, with the
CROWD moving around the two men. The
fight continues to its climax, at which point
JUD pulls a knife and goes for CURLY. CURLY
grabs his arm and succeeds in throwing him.
9798 OKLAHOMA!
JUDfalls on his knife, groans, and lies still.
The CROWD surges toward his motionless
body.)
CURLY. Look - look at him! Fell on his own knife!
(He backs away, shaken, limp. Some ofthe
MEN bend over the prostrateform.)
SLIM. Roll him over somebody.
MEN. (Through SLIMS next line they overlap thefollowing
ad-libs.) Don't tetch him.
What's the matter?
Don't you tetch it!
Turn him over - he's breathin: ain't he?
Feel his heart.
How'd it happen?
FRED. Whut'll we do? Ain't he all right?
SLIM. 'S he just stunned?
CORD ELAM. Git away, some ofyou. Let me look at him.
(He bends down, the MEN crowding around.
The WOMEN, huddled together, look on, struck
with horror. CURLY has slumped back away
from the crowd like a sick man. LAUREY looks
at CURLY, dazed, a question in her eyes.)
LAUREY. Curly- is he - ?
CURLY. Don't say anythin'.
LAUREY. It cain't be that-a-way.
CURLY. I didn't go to.
LAUREY. Cain't be! Like that - to happen to us.
CORD ELAM. (Getting up.) Cain't do a thing now. Try to get
him to a doctor, but I don't know -
SLIM. Here, some ofyou, carry him over to my rig. I'll drive
him over to Doc Tyler's.
CORD ELAM. Quick! I'm afraid it's too late.
(The MEN lift JUD up and carry him off
toward the road.)OKLAHOMA!
MEN. (Ad-libbing as JUD is carried off) Handle him easy!
Don't shake him!
Hold on to him careful there!
CURLY. (To LAUREY and AUNT ELLER.) I got to go see ifthere's
anythin' c'n be done fer him.
(He kisses LAUREY.)
Take keer ofher, Aunt Eller.
(He exits.)
AUNT ELLER. Mebber it's better fer you and Curly not t'go
'way tonight.
(She breaks off, realizing howfeeble this must
sound.)
LAUREY. (As ifshe hadn't heard AUNT ELLER.) I don't see
why this had to happen, when everythin' was so fine.
AUNT ELLER. Don't let yer mind run on it.
LAUREY. Cain't fergit, I tell you. Never will!
AUNT ELLER. ½.t's all right, Laurey baby. If you cain't fergit,
jist don't try to, honey. Oh, lots of things happen to
folks. Sickness, er bein' pore and hungry even - bein'
old and afeared to die. That's the way it is - cradle to
grave. And you can stand it. They's one way. You gotta
be hearty, you got to be. You cain't deserve the sweet
and tender in life less'n you're tough.
LAUREY. I - I wisht I was the way you are.
AUNT ELLER. Fiddlesticks! Scrawy and old? You couldn't
h'ar me to be the way I am!
(LAUREY laughs through her tears.)
LAUREY. Oh, whut ud I do 'thout you, you're sich a crazy!
AUNT ELLER. (Hugging LAUREY.) Shore's you're horned!
(She breaks off as CURLY enters with CORD
ELAM, CARNES, and afew others. Their manner
is sober. Some ofthe WOMEN come out ofthe
house to hear what the men have to say.)
99100
-
.....
OKLAHOMA!
CORD ELAM. They're takin' Jud over to Dave Tyler's till the
mornin'.
AUNT ELLER. Is he - alive?
(CORD ELAM shakes his head to indicate "no.'?
CURLY. Laurey honey, Cord Elam here, he's a fed'ral marshal,
y'know. And he thinks I orta give myself up - tonight,
he thinks.
LAUREY. Tonight!
AUNT ELLER. Why yer train leaves Claremore in twenty
minutes.
CORD ELAM. Best thing is fer Curly to go of his own accord
and tell the judge.
AUNT ELLER. (To CARNES.) Why, you're the judge, ain't you,
Andrew?
CARNES. Yes, but -
LAUREY. (Urging CURLYforward.) Well, tell him now and
git it over with.
CORD ELAM. 'T wouldn't be proper. You have to do it in
court.
AUNT ELLER. Oh, fiddlesticks. Le's do it here and say we did
it in court.
CORD ELAM. We can't do that. That's breaking the law.
AUNT ELLER. Well, le's not break the law. Le's just bend it a
little. C'mon, Andrew, and start the trial. We ain't got
but a few minnits.
CORD ELAM. Andrew - I got to protest.
CARNES. Oh, shet yer trap. We can give the boy a fair trial
without lockin' him up on his weddin' night! Here's the
long and short of it. First I got to ask you: Whut's your
plea?
(CURLY doesn't answer. CARNES prompts
him.)
~t means why did you do it?--
OKLAHOMA!
CURLY. Why'd I do it? Cuz he'd been pesterin' Laurey and I
always said someday I'd -
CARNES. Just a minnit! Just a minnit! Don't let yer tongue
wobble around in yer mouth like 'at... Listen to my
question. Whut happened tonight 'at made you kill
him.
CURLY. Why he come at me with a knife and - and -
CARNES. And you had to defend yerself, didn't you?
CURLY. Why, yes - and furthermore...
CARNES. Never mind the furthermores - the plea is
self-defense -
(The WOMEN start to chatter.)
Quiet! Now is there a witness who saw this happen?
MEN. (All at once.) I seen it.
Shore did.
Self-defense all right.
Tried to stab him 'th a frog sticker.
CORD ELAM. (Shaking his hand.) I feel funny about this,
Andrew. I shore feel funny.
AUNT ELLER. You'll feel funny when I tell yer wife you're
carryin' on 'th another womern?
CORD ELAM. I ain't carryin' on 'th no one.
AUNT ELLER. Mebber not, but you'll shore feel funny when I
tell yer wife you air.
(Boisterous laughter.)
CORD ELAM. Laugh, all you like, but as a fed'ral marshal -
SKIDMORE. Oh, shet up about being marshal! We ain't goin'
to let ya send the boy to jail on his weddin' night. We
just ain't goin' to let ya. So shet up!
(This firm and conclusive statement is
cheered and applauded.)
SLIM. C'mon fellers! Let's pull them to their train in Curly's
surrey! And we'll be the horses.
101...,
102 OKLAHOMA!
(The CROWD begins to disperse.)
CARNES. Hey, wait a minute! I ain't even told the verdick
yet!
(Everything stops still at this unpleasant
reminder.)
CURLY. Well - the verdick's not guilty, ain't it?
CARNES. Course, but...
LAUREY. Well, then say it!
(CARNES starts, but the CROWD drowns him
out.)
ALL. Not guilty!
(CURLY and LAUREY run into the house. Four
ofthe MEN run offto get the surrey. CARNES is
left downstage without a "court.'?
CARNES. Court's adjourned!
(AUNT ELLER laughs, crosses to bench left.
CARNES joins AUNT ELLER, who has sat down
to rest after all this excitement. ADO ANNIE
and WILL enter, holding hands soulfully. ADO
ANNIE~ hair is mussed, and a contented look
graces herface.)
AUNT ELLER. Why, Ado Annie, where on earth have you
been?
ADO ANNIE. Will and me had a misunderstandin'. But he
explained it fine.
(ADO ANNIE and WILL go upstage, and now
- tell-tale wisps ofstraw are seen clinging to
ADO ANNIE~ back. Two or three YOUNG GIRLS
run after them, giggling and pointing at the
straw.)
-
[MUSIC NO. 29 "FINALE ULTIMO"]
(Amid shouts and laughter, the surrey is
pulled on. The younger BOYS and GIRLS.....
.....
....
ALL.
OKLAHOMA!
examine it with great delight as it is being
positioned. The CROWD sings lustily as IKE
speaks over them.)
I GOT A BEAUTIFUL FEELIN'
EV'RYfHIN'S GOIN' MY WAY.
IKE. Hey, there, bride and groom, y'ready?
CURLY. (Running out ofthe house with LAUREY.) Here we
come.
ALL.
(There is much movement as LAUREY kisses
ADO ANNIE, IKE, and CARNES while CURLY
shakes hands with CARNES, IKE, and WILL.
Finally, LAUREY hugs AUNT ELLER, and CURLY
lifts her into the surrey. Everyone else sings.)
OH, WHAT A BEAUTIFUL MORNIN',
OH, WHAT A BEAUTIFUL DAY!
I GOT A BEAUTIFUL FEELIN'
(LAUREY is helped into the surrey by CURLY.)
EV'RYTHIN'S GOIN' MY WAY...
(LAUREY and CURLY are seated in the surrey.)
OH, WHAT A BEAUTIFUL DAY.
(On "Oh" ofthe last line, MEN start to pull
the surrey off. Everybody waves as theyfall
in place,following. CURLY and LAUREY wave
through the back ofthe surrey as the curtain
falls.)
(As the music of ''People Will Say "We're In
Love" beg'ins, the curtain rises. The COMPANY
has regrouped in an old-fashioned tableau,
as ifthey were posingfor a photograph. After
the first twelve bars ofmusic, they sing. As
they sing, they break the formality of the
tableau. LAUREY and CURLY leave the surrey
and come down centerfront.)
103104

ALL.
OKLAHOMA!
PEOPLE WILL SAY WE'RE IN LOVE.
DON'T START COLLECTING THINGS -
GIVE ME MY ROSE AND MY GLOVE.
SWEETHEART, THEY'RE SUSPECTING THINGS -
PEOPLE WILL SAY WE'RE IN LOVE!
(Curtain.)
The End
Last Update:August, 20th 2025

Oklahoma Lyrics: Song List

  1. Act 1
  2. Overture
  3. Oh, What a Beautiful Morning
  4. Laurey's Entrance
  5. Surrey With the Fringe on Top
  6. Kansas City
  7. I Cain't Say No
  8. Many a New Day
  9. Many A New Day Ballet
  10. It's a Scandal! It's a Outrage!
  11. People Will Say We're in Love
  12. Pore Jud Is Daid
  13. Lonely Room
  14. Out of My Dreams
  15. Act 2
  16. Farmer and the Cowman
  17. All Er Nothin'
  18. People Will Say We're in Love (Reprise)
  19. Oklahoma!
  20. Finale: Oh, What A Beautiful Mornin'

Popular musicals

  1. Hamilton
  2. Six
  3. Les Miserables
  4. Rent
  5. Chicago
  6. Wicked
  7. Oklahoma
  8. Phantom of the Opera, The
  9. Jesus Christ Superstar
  10. Epic: The Musical