The Paliku Theatre production of Rodgers and Hammerstein's "Oklahoma!" plays like a museum piece, but director Ron Bright smartly lets its naive charm tell the story, without imposing a contemporary sensibility on its original 1943 values.

And nowhere does that naive charm shine more brightly than in Michael Bright's performance as Curly, the unspoiled, upright, cowboy who, lacking any other skill to express his emotions, courts his sweetheart by boasting and teasing.

"Who's the best bronc buster in this yere territory? And looky-here, I'm handsome, ain't I?"

Michael Bright (son of the director) deftly plays those character cards all the way to the final scene, where he has to be coaxed to enter an innocent plea of self-defense. That earnest singleness of purpose supports the spine of the play in a very likable way and sets the tone for the entire production.

While he isn't the typical physical stereotype for Curly, the clarity of his acting and singing make the role. And by the end of "Oh What a Beautiful Mornin'," he's won over the audience.

Ashley Warling is a good match as Laurie, with special vocal strength that makes "Many A New Day," "Out of My Dreams" and her duet with Curly on "People Will Say We're In Love" truly beautiful.

Musical director Clarke Bright (also son of the director) brings excitement to the score, especially during the title song in which orchestra and chorus blend to build a sense of mounting excitement. We actually hear the wind sweeping down the plain and see the winter wheat waving in its path. It's a moment of pure theater and the highlight and capstone of the entire production.

The cast gets good supporting work from Tracy Yamamoto as solid Aunt Eller, Dani Yamamoto as hapless Ado Annie, Tony Young as fast-stepping Will Parker, and Scott Wallace as twittery Ali Hakim. Steve Wagenseller gives a sympathetic insight into the overall dark role of Judd Fry.

The set by Lloyd Riford III slips easily from farmhouse to forest and his lighting design zeroes in to accentuate singers without sacrificing the overall naturalistic tone.

Marcelo Pacleb's choreography is a workable blend of hoe-down and ballet, with Agnes de Mille's original dances restaged by Ashley Layfield.

The overall production plays three hours, including the obligatory dream sequence and a couple of numbers for Ali Hakim and Judd Fry that could be cut without harming the story line, but it does not feel like a long show. That's testament to an artistic corps that can give us the whole treatment, but keep it fresh.

"Oklahoma!" may be over 60, but at Paliku Theatre, all the sounds of the earth are like music — seen across a meadow of bright golden haze.

Genealogical note: Look for more Bright family members in the orchestra and chorus.