FANS of musicals in Basingstoke have been spoiled by local amateur dramatic companies recently.

First BATS brought us Carousel, and now BAOS have entertained audiences with Rodgers and Hammerstein's other, equally beloved, classic Oklahoma!

Both boast some of the finest songs ever written in the genre, and these were brought to life for the show's run by the ever-enthusiastic cast of amateurs.

David Izzo and newcomer to BAOS Alex Sellers were our key couple, Curly and Laurey, shyly negotiating their way to a wedding, aided all the way by Aunt Eller (Kathy May-Miller).

The notes in the lovely programme informed us that playing Jud Fry for BATS in 2003 had been one of Ian 'Spud' Smith's fondest memories, and it immediately became clear why when he appeared on stage, the absolute embodiment of the character's rage and frustration. This was a star turn indeed!

Young duo Lauren Newman and a very lively Joseph Philpotts completed the key cast as Ado Annie and Will, their own love story complicated by the former's flirtations with pedlar Ali Hakim - a great Peter Chiverton, making the most of, and milking the laughs from, the witty dialogue.

Ado Annie is a super character, and Lauren absolutely made the most of I Cain't Say No! and All Er Nuthin, suffusing both with youthful naivete and charm.

The act one number Pore Jud is Daid was a particular success, too, with laughs and drama. David Izzo has a beautiful voice, and didn't drop a note - or waver in his accent - throughout the entire, almost three-hour, duration of the production.

And we were even treated to some live banjo playing on stage from Bob McGhee - a great touch.

Director Sarah Wood, musical director Colin Woolmer and choreographer Cari Deaves had many 'big' and 'small' moments to organise, which come hand-in-hand with staging a musical such as this. Everyone managed very well with their - sometimes quite complex - steps, creating a lively atmosphere which would have encouraged even the least musical person watching to tap along.

The red and orange lighting during the more malevolent parts of the dream sequence was absolutely beautiful, and recalled the glorious Technicolor of the film - some achievement.