While there are a few good things in Oklahoma!, the expensive production is far from satisfying.

This Oklahoma!, which opens today in Phoenix, had potential. The state's most prestigious performing arts groups, Arizona Theatre Company and the Phoenix Symphony, produced it. A generous Flinn Foundation grant assured a big budget, and a who's who of Broadway was hired to stage and design it.

The blame for the ineffectual production rests with Vivian Matalon's stagnant and meandering direction and Joey McKneely's lackluster dances.

Only the musical numbers catch fire, and that's not because of the staging but because the cast sings the still-pleasant Rodgers and Hammerstein tunes effectively.

While the songs remain fresh, the 52-year-old musical is showing its age. This rambling, happily-ever-after story tells of pre-statehood Oklahoma pioneers. Curly, the cowboy hero, wins the hand of Laurey, a stubborn but charming farm owner.

Matalon tries to bring realism to the dated script, but his staging looks artificial and awkward. He does open up the musical's first act to include locales other than the exterior of Laurey's farmhouse.

But R. Michael Miller's cramped kitchen and bedroom sets restrict action, so Matalon accomplishes little. And neither location makes sense. Why would Laurey and her girlfriends suddenly don bedclothes and gather in a tiny bedroom when they are headed for a party?

McKneely's repetitious dances keep the big production numbers -- The Farmer and the Cowman, Kansas City and the title tune -- from having much punch. The choreography is further hampered because the cast sings better than it dances.

The pretentious Dream Ballet, staged badly by McKneely, reveals Laurey's struggle to win Curly. In 1943, it brought classical ballet to the musical theater stage, but it now seems unnecessary.

The physical production does better in capturing Matalon's realism concept. David Loveless' subdued-colored period costumes look as if they would have been worn in turn-of-the-century Oklahoma. Miller's sets are rustic but too sparse, and Richard Nelson's lighting is often too dim.

The cast is competent, but only Marsha Bagwell, a delightful Aunt Eller, and Adam Matalon (the director's nephew), a humorous Ali Hakim, present stellar portraits.

Jeff Stafford's Curly is energetic but one wishes his harsh voice sounded smoother. Becky Watson is an unusually feisty Laurey, but her shrill singing is often unpleasant.

Kelli Maguire does a nice comic turn as the man-hungry Ado Annie, while Jay Douglas is a stalwart Will Parker, Ado Annie's beau. Michael Gruber's Jud doesn't make the musical's villain evil enough.

There's no problem with the Phoenix Symphony musicians, who sound wonderful under Jack Lee's fine conducting. If only the rest of this production were as vigorous and robust. This Oklahoma! is long on promise but ultimately disappointing.